呼我

呼我

HD国语

3.0 |06月15日 |HD国语
简介:
大洪是一家花店的打工仔,他每天练声,想唱男高音。一天,大洪替大客户金先生去给写字楼里的胡莉送花,胡莉看了卡片上送花人的名字把花扔了,并且拒绝签单,大洪争辩,被保安架了出去。  小顺曾经以卖血为生,后来发现自己是艾滋病毒携带者,他每天在街上贴纸条“我是陕西来的张顺,谁输了我的血,呼我”,他还追着血头,要找被自己输过血的人,尽早告知他们。  在呼台打工的柳丁和桂花在马路边的露天舞场认识了老甘和马医生,柳丁被马医生的温柔体贴所吸引,而桂花却逐渐感到老甘其实很安全。  大洪继续找胡莉签单,遭到拒绝,为了赔偿花店的损失,他去夜市卖花,违规受罚。大洪一气之下偷走了胡莉的包。胡莉往自己包里的传呼机上留言,说包里有护照,有自己的后半生。大洪通过胡莉的呼机得知,原来金先生是有妇之夫,和胡莉好了五年,却不肯离婚,恼火的胡莉决定出国。  柳丁陷入马医生的温柔陷阱,发现一切只是骗局。青年周青总在电话亭给心爱的人留言,他熟悉呼台柳丁的声音,失落的柳丁已经能背诵他那些爱的留言。  胡莉的签证即将过期,大洪到写字楼想还她的包时,胡莉已被公司解雇。胡莉离开了公司,也彻底离开了金先生。大洪再呼胡莉,接线员柳丁告诉大洪,胡莉已经停机。  小顺痛打血头,拿到了输血人名单。马医生又引诱别的女孩,被老甘打了一顿,马医生却奚落柳丁的纯真。对自己爱人已绝望的周青决定和柳丁见面。胡莉留下自己的呼机号求租一居室,大洪留下自己的呼机号要找胡莉,小顺仍在找输过血的人——这些写着“呼我”的字条互相覆盖,很快将被别的字条所代替,但希望永远存在。
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主演:安德林妮·夏莉,罗伯特·约翰·伯克,马特·马洛伊,凯莉·莱卡特
简介:Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.  Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)  As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisonerpenitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone (I'm a mechanic), yet the symbolism is rich he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.  The scene between Josh and Jane (a wonderful, young Edie Falco . . . You need a woman not a girl) is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly arty and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual am notare too argument).  Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the unbelievable truth of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
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