雅克(皮埃尔·德·兰登尚朴 Pierre de Ladonchamps 饰)是一名风格放荡不羁的作家,奉行着享乐主义的人生信条。一次偶然中,他结识了名为亚瑟(文森·拉寇斯 Vincent Lacoste 饰)的男孩,虽然亚瑟比雅克要年轻很多,但这并不妨碍两人度过了浪漫的一晚。
经过这一晚,单纯的亚瑟深深的爱上了雅克,然而,雅克经历过太多的感情上的挫折了,他根本不相信这个年轻的小伙子对自己是真爱。一天,雅克震惊的得知自己的前男友死于艾滋病,这也就意味着他很可能也被传染上了,病痛的折磨之下,脆弱的雅克卸下心防,同意了亚瑟搬来照顾他的请求。
Gilang is an extra actor who has been in the film industry for 10 years. Gilang always gives too much extra effort so he is blacklisted by many directors and casting directors. Excessive effort makes Gilang always run out of money to invest in his extra roles. Gilang loves a Citra award actress named Rachel Hesington. Unfortunately, Rachel is dating a rising actor, Kevin Sumitro. Kevin is the son of a wealthy businessman named Mr. Nedy Sumitro. Mr. Chen, a mining entrepreneur, kidnaps Kevin and asks for a ransom of 100 billion. The kidnapping incident occurs at the shooting location. In the confusion, Kevin is kidnapped. The kidnapper thinks Gilang is Kevin. So Gilang and Rachel are also kidnapped. The director is also kidnapped. As the story progresses, Gilang manages to overcome all the obstacles that block him, using the knowledge he learned when he was an extra in many films.
The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's siege is one of the first characters of the modern war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. Siege was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
In 1672, two witches (Jennifer and her father Daniel) were burned by puritan Jonathan Wooley. In revenge, Jennifer cursed all future generations of the Wooley family, that the sons will always marry the wrong woman and be miserable. In the 20th century, a bolt of lightning frees Jennifer and her father from the tree that had kept their souls imprisoned. Jennifer assumes corporeal form and decides to make up-and-coming politician Wallace Wooley, then unhappily engaged, even more miserable by getting him to fall in love with her before his wedding. Wallace is a straight arrow, though, and Jennifer has to resort to a love potion. As we all know, love potions tend to backfire, with comedic results.