西施以飽含情韻的筆觸為我們描繪了兩千多年前那動亂年代"春秋無義戰"越王勾踐和吳王夫差兩國君王之 間的生死鬥構成了一幅驚心動魄而又回腸蕩氣的歷史書卷。西施作為一個美女、一個亡國的女奴，心懷著國仇家恨肩負著君王的委託，來到了吳國，去完成一項本不該他負擔的使命，但在這吳、越爭霸的激烈鬥爭中，他逐漸發現了他原來恨的也許是不該恨的，而愛的也許是不該愛的。最後他許則了自己所愛…
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Veteran experimental filmmakers Danielle Huillet and Jean-Marie Straub helmed this unusual adaptation of a novel by Elio Vittorini. Focused on the triumphs and failures of a group of laborers and farm hands who pooled their resources to operate an alternative collective farm after the end of World War II, Operai, Contadini features a cast of 12 actors who read aloud from Vittorini's book for the duration of the film, either reciting from memory or using a clearly visible script. Hardly designed to be a crowd pleaser, Operai, Contadini proved to be controversial among the audiences for its showings at the 2001 Cannes Film Festival, where it was screened as part of the Directors' Fortnight series. ~ Mark Deming, All Movie Guide The group makes up a primitive community which seeks to erase not only the distress created by the war but also the hardships of life and hunger, and to protect them from violence, misery and fear. Amid the ruins of this post-war period, the characters build and invent a rapport both in their professional and daily lives between themselves, the sexes, generations, diverse social and geographical origins, and antagonistic political camps. The group maintains a 'register', a kind of diary, as if it were entering the minutes of an inquiry or a trial. -Steve Grayson my favorite Straub-Huillet films are Too Early, Too Late and Operai, contadini (2001), both color landscape films with especially acute senses of place as well as of nature in all its harsh beauty. - Jonathan Rosenbaum
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一男孩被他爸爸打了，他向媽媽哭訴：“媽，如果有人打你兒子你會怎么辦？”媽媽：“那我也去打他兒子！”兒子一臉苦笑：“如果打我的是爸爸呢？”媽媽：“那我打你大哥去！”兒子：“哥哥又沒錯，為什么要打哥哥？”媽媽：“因為你哥才是你爸的親生兒子！”
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