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 prisoner/penitent 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 not"/"are 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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韩庚饰演的柳见三，是一个有着执着梦想和坚定信念的年轻人。他虽然和父亲柳庭深之间存在误解，但最终还是找到了属于自己的道路。他的成长经历，让我们看到了一个勇敢、敢于担当的年轻人。

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这部影片讲述了一个充满奇幻色彩的故事，同时又能引人深思。电影中的阿莎是一个勇敢、善良的女孩，她的愿望是拯救她的社区，她坚信星星的力量，这种信念鼓舞着她在困境中不放弃，勇于战斗。影片通过阿莎的故事，向观众传递了勇气、信念和希望的力量，让人在面临困境时，依然保持对未来的信心。

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夏末和初秋的故事充满了青春气息，它唤起了我们曾经的回忆和梦想。

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她屏保都是一个亭子。她手机上近实际些，到了电脑，她试了平铺，填充，拉伸，最后是个扁亭，这边柳树更大。她手机上一下子就这样，有段湖，往后都是天，正阴，后来看出来在下雨，亭在左，占最左边上，紧靠上俩棵大柳树，披披纷纷，树下是岸，有个小码头子，外边接船，客船。到了电脑，她第二次换回来突然变宽，这棵柳倒让看全，这下看出是从中分出杠，离她越来越近，她像每回是从里边闻到什么，猛看是个蓝顶的亭也近，她一坐下就老长时间，缺了点东西。有更绿树，更大亭，码头不见，湖面正下的雨没有，天