无人驾驶2000
3.0 |03月02日 |更新至高清
简介:

  屯门,一个发展了十多年的偏远新市镇。这个故事从屯门出发,沿途看四周出轨少女。
  
  饼,一个十三的少女,发现自己怀了男友细荣的孩子,但细荣自从去油尖旺卖翻版VCD后便失去了音讯,生在破碎家庭的饼只有她的朋友诗诗,蕉和腐乳相依为靠。这四位少女听不惯大人的唠叨,也不愿服从学校的纪律,宁愿整天在外消磨时间,她们大多时间都在购物,唱卡拉OK和闲聊上。
  
  四女对爱情充满了憧憬和诱惑。除了饼被男友抛弃,蕉只喜欢追寻短暂恋爱所带来的刺激。而诗诗和腐乳虽然同性相恋,但是诗诗始终只是抱着骑驴找马的心态来面对腐乳间的感情。家庭和感情的不如意,虽然造成四女心灵上的创伤,但是发生的种种却能增进了她们之间的友情。
  
  四女怎样面对人生,能否在生命中找未来?路,正等待着她们去开拓……
  
  本片是2000年香港国际电影节开幕电影,以实录形式探讨时下青年人问题的话题力作,全新人主演。导演是炮制实况剧的能手刘国昌,他十二年前的《童党》直到现在仍然是本地青少年电影的殿堂级之作。

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更新时间:2025年10月14日
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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