李宗瑞吧

蔚蓝浩瀚、平静无际的大海中央，漂浮着一只破破烂烂的小木筏。筏子上坐着疲惫不堪的汤姆，这只遭遇海难侥幸逃生的猫咪，说不清是幸运还是倒霉，他饥肠辘辘，被迫吃皮鞋填补肚皮。这时，他看见不远处有一座小岛，顿时喜上心头。及时出现的大浪将木筏推向岸边，被椰子砸到脑袋的汤姆顾不上疼痛，试图敲开椰子吃上一顿，却没有成功。之后他又盯上了海龟，一嘴下去反而硌碎牙齿。正在此时，不远处走来了打着遮阳伞的小老鼠杰瑞，在汤姆眼里那无疑是一顿丰盛的美味。饥饿的猫和聪明的小老鼠在岛上展开追逐战，杰瑞计上心头，化装成食人族土著，好好戏耍了汤姆一番……

该纪录片讲述一头编号为236号的幼鹿一出生就成了“孤儿”，在保护区工作人员的悉心哺育下摆脱生存危机，茁壮成长后被“野放”回大自然，经过一番历练成为“鹿王”的故事。该片是大丰麋鹿国家级自然保护区和中央电视台联合摄制的电视纪录片，曾获第23届中国电视金鹰奖一等奖。

在梦境中杀害孩子们的弗莱迪回来了。少女克里斯汀最近会陷入一个持续的噩梦中，她在那所自己制作的梦中房屋里险些死于弗莱迪之手——尽管在外人看来，克里斯汀更像是梦游或者自杀。于是，克里斯汀被送到了医院进行治疗，这里有多位和她一样受噩梦困扰的少年。曾经从弗莱迪手中逃脱的南茜（希瑟·兰根坎普 Heather Langenkamp 饰）如今已是一位医生，她来到医院帮助克里斯汀和众少年，并且发现后者拥有将别人带入她梦中的能力，在医生科尔曼的协助下，南茜等人进入了克里斯汀的梦境，孩子们发现在梦中自己可以拥有不同寻常的能力，南茜随即准备带领他们与弗莱迪在梦中一战，熟料，古板的医院方面仍然认为孩子们不过是梦游和受臆想困扰……

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.