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蘑菇影视

同龄人
大陆国语2009
  《同龄人》由山东影视中心、辉煌世纪影视公司联合拍摄,张辉力亲自执笔编剧并执导该片,主创团队启用《闯关东》原班人马,可谓强强联合,旨在制作一部精良的史诗般大戏奉献给观众。许晴在剧中饰演女一号童楠楠。  童楠楠是男一号刘解放(任程伟饰)青梅竹马的邻居,解放49年生人,是共和国的同龄人,楠楠比解放小几岁,整天跟在解放身后,解放哥解放哥的像个小跟班,解放也一直把楠楠当成小p孩儿。但殊不知在楠楠的心中,早已经暗暗萌发了对解放哥哥的爱慕之情,但这时的解放心里全是“大事儿”,为了实现理想义无反顾的去当兵了。军人也要谈婚论嫁,楠楠始终不忘解放,但是解放最终是否明白了楠楠的心意,是否选择楠楠作为终身的伴侣了呢。这就要在故事里找答案了。  许晴从十六岁的花季少女演起,可谓是巨大的挑战,不管从戏路和风格上都要有很大的突破。许晴虽然甜美可爱,但以往的角色大多是成熟端庄的类型,像“邻居家缠人的小妹妹”这样的角色还从未尝试过,不过“奥运化妆师”陈敏正的妙手下,许晴不但样子回到了十六岁,连气质都透着酸酸涩涩青春气息。成功的造型让许晴信心大增,在前几天举行的人民大会堂媒体见面会上,许晴表示有这样一流的团队,她有把握演好这个角色。

蘑菇影视

九号公路
大陆国语2011
  一场意外事件,将一辆辆原本有各自方向车辆堵在九号公路上,一连串的矛盾爆发,将行车人的命运纠结在一起,当一个生命突然要降临,让所有的矛盾和冲突无条件的妥协,迎接新生命的过程让所有的心灵获得洗礼,原来所有无条件的付出和包容都是爱。  一辆出租车内,孕妇于音音正要去医院进行产前检查。一辆家庭轿车,丈夫钱大伟和妻子李微微决定协议离婚,儿子钱小默气氛僵持着沉默着,他们僵持不下,儿子钱小默冷眼旁观;即将旅行闪婚的新郎路南忐忑不已,被迫送行的芳芳欲言又止苦闷不已。还有形形色色的轿车、火车、吉普车……  他们的“命运使者”是一群从天而降的鹅——前方一辆运鹅车的车锁滑落,将本来畅通的公路堵塞,一场意外的堵车,在大家齐心协力抓住之后缓解,不可缓解的堵车风波愈演愈烈。这边厢众人均下车救鹅,忙得热火朝天,却不知故事才刚刚开始。  方芳芳求学归来,本欲向暗恋多年的哥们路南表白,无奈一见面路南就给了芳芳一个天大的惊喜,“哥们要闪婚了”。真爱纵然无罪,抢婚岂能有理?可是又偏偏方家上下齐动员,原来彝族的芳芳妈妈要实践抢婚的民族传统,家族最小成员小月亮更是雄赳赳气昂昂,表现得简直比方芳芳还积极百倍。  钱大伟多年来为了事业的打拼冷落妻儿,但也是为了家庭的责任,妻子的不理解让他倍感烦躁;李微微又当爹又当妈的拉扯孩子操持家务,多少次埋怨也换不回丈夫的怜惜和陪伴,终于下定决心结束这段婚姻;儿子钱小默是父母心头最不能割舍的宝贝,可是孩子的努力也不能打破父母心底的坚冰。  小肚鸡肠的Mike和斤斤计较的莉莉,身上肩负着被这个时代所赋予的插科打诨的使命,乐此不疲地穿梭在拥堵的车辆人群之中。可是终于解除了第一次意外堵车九号公路,也因为这二位互不相让的刮蹭事故而再次堵塞。  但越是精心策划越是七零八落,越是信誓旦旦越是心猿意马。表白来的太突然也会被拒绝,抢婚来的太强悍也会遭到反抗。你不用再开许诺的空头支票,你也可以去追求你想要的幸福,这个婚离定了。再次的堵车也成为抢婚最好的机会,离婚的结果似乎也成了必然。直到另一位“命运使者”的紧急迫降,才再次将众人栓在了一起——于音音临盆在即。突如其来的生命,让众人感到紧张和惶恐,一时冲动的自责和悔恨让所有人放下私怨,现场演绎了一场虽然混乱但却齐心协力的大营救。在抢救中,外科医生李微微不顾钱大伟的阻止毅然加入急救,钱大伟恍然发现原来妻子也有自己的事业和追求。芳芳无私的爱让路南重新审视自己的闪婚。所有的矛盾和问题在生命的面前迎刃而解,原来每一个人都有一个滚烫的爱心,当爱心凝聚在一起,替于音音现场接生这个看似不可能完成的任务,也在一声嘹亮的婴儿啼哭中顺利完成。当众人沉浸在新生儿降生的喜悦中时,道路也逐渐恢复了畅通。新生命的降临让人们彼此拥抱感恩。  人生何处不相逢,正是这一场九号公路上堵车让人们命运交错,让心灵得到洗礼,让命运重新启程。在九号公路上奏响了一篇关于爱奇幻乐章。

蘑菇影视

不安分的年轻人们
法国法语1958
  Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...    Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.    Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.    Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.    Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

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