Im
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琪拉·穆拉托娃
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It is a great film by a great director.Kira Muratova has never been given her due in the Soviet and post-Soviet Russia.In the "Long Good Bye" she depicts a seemingly banal story of a jealous and possessive mother (brilliantly acted by Zinaida Sharko) and her poor aloof and lonely son (the only cinematic role by the talented O. Vladimirsky). The story - which is nothing extraordinary in itself - grows into the wonderful and frightening analysis of alienation between genders and generations on the background of the even more f私密按摩师视频无删减在线righteningly bleak and dehumanized Soviet reality.Kira Muratova shows the tiny details of everyday Soviet life,and, again , banal as they are ,they are a hair-raising horror.The dialogue is deliberately laconic and void of any sense, showing the ever-growing people's inability to communicate and understand each other.The sound track ( by another under-estimated talent, Oleg Karavaichuk)adds to the atmosphere of hopeless and meaningless existence.Of course,Sasha (the name of the protagonist),will leave his despotic ( but loving!) mother sooner or later, but where for? (c) Author: drbagrov from Taiwan
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尤拉伊·赫兹
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在回家的途中，一位商人（瓦克拉·沃斯卡 Vázooskoolknotty人与猪clav Voska 饰）遭遇了罕见的暴风雪，昏天黑地之中，商人误打误撞来到了一幢豪华神秘的城堡前。商人在城堡中受到了贵宾般的优厚待遇，但直到最后，商人仍然不知道城堡的主人究竟是谁。暴风雪停歇了，商人准备离开，临走之前，他决定在花园中摘一朵玫瑰送给自己最喜爱的小女儿贝儿（兹德娜·斯图登科娃 Zdena Studenková 饰），而令他没有想到的是，长相狰狞的野兽（Vlastimi腾讯员工5pl Harapes 饰）出现在了他的面前向他索命。 商人失魂落魄的回到了家，将自己的遭遇告诉了六个儿女，爱父心切的贝儿决定代替父亲，只身来到了城堡。然而，等待着贝儿的却并非死亡，而是更加盛情的款待，野兽对她唯一的要求，就是不要离开城堡半步。贝儿并不惧怕野迅雷村兽，随着时间的推移，两人之间的关系越来越近。
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达里奥·阿基多
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Roberto, a drummer in a rock band, keeps receiving weird phone calls a如果这是宋史 txtnd being followed by a mysterious man. One night he manages to catch up with his persecuto非缘勿扰 电视剧r and tries to get him to talk but in the ensuing struggle he accidentally stabs him. He runs away, but he understands his troubles have just begun when the following day he receives an envelope with photos of him killing the man. Someone is killing all his friends and trying to frame him for the murder格兰戴尔s...
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乔治·库克
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姑母意外死亡，给美丽、善良的少女宝拉（英格丽·褒曼 Ingrid Bergman 饰）留下大笔日本一卡二卡三卡四卡免IOS遗产，引来心术不正的青年安东（查尔斯·博耶 Charles Boyer 饰）觊觎。追求宝拉成功后，二人回到宝拉姑母曾经遇害的伦敦旧宅居住。本以为就此拥有完美丈夫和幸福生活的宝拉，逐渐受到古怪现象困扰，她总会听到奇怪的响声，东西经常莫名其妙消失又出现，新来的女仆也对她态度轻蔑，煤气灯也开始忽明忽暗，安东暗示一切都是宝拉自己的幻觉，是宝拉的精神出现了问题。就在宝拉慢慢心理崩溃，濒临发疯的边缘，一个年轻的侦探伯林（神隐之狼好看吗约瑟夫·科顿 Joseph Cotten 饰）出现了，他发现宝拉正在被孤立，背后的主谋正是她的完美丈夫……
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朱拉·亚库比斯克
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This is a very bizarre fairy tale. It commences with a wedding and singing and dancing but nearly the whole village is wiped out by wolves. The bride gives 两不疑漫画全集免费阅读birth to a daughter several months later and promises her to the boy who saved her. Ten years later there is another disruption when Some circus folk come by and the villagers trick them into staying. Tragedy ensues... This has a strange cast, dwarfs, giants, priests and occasional intrusions from the modern world in the form of the police and a wonderer who returns bringing to the village the good news of Nostradamus. It is a long film but it honestly does not drag. and if you get bored of the plot you can always look at the sumptuous Countryside.
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杜桑·哈那克
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Mannheim-Heidelberg International Filmfestival YearResultAwardCategory/Recipient(s) 1969 Won Grand Prize Dusan Hanák A government official in Czechoslovakia mistakenly believes he has我亲爱的小冤家国语版全集 cancer. He reasons his involvement in clandestine activities during the Stalin administration have fated him to die from a dreaded disease. He searches for inner peace as he feels the guilt of his past transgressions. This film tied for the Grand Prize at the Mannheim Film Festival in 1969.&某某盛望江添肉车扩写lt;br/> Slovak director Dusan Hanak was one of Czech cinema's brightest and best talents of the '60s and '70s, but because of censorship this was not manifest until the late '80s. Dusan made an impact on the film world with his auspicious debut 322 (1969). Though banned until 1988, when it was finally released, it earned international acclaim and the Grand Prix award at the Mannheim Film Festival. Hanak's sophomore effort, the documentary Obrazy Stareho Sveta/Image of an Old World (completed in 1972), was also not released until 1988 and neither was his 1980 film Ja Milujem, Ty Milujes/I Love You, You Love. Only Hanak's 1976 film Ruzove Sny/Ros奇异博士吧百度云资源e-Tinted Dreams passed muster with censors and saw a timely release.
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维克托·哈普林
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Young couple Madeleine and Neil are coaxed by acquaintance Monsieur Beaumont to get married on his Haitian plantation. Beaumont's motives are purely selfish as he makes every attempt to convince the beautiful young girl to run away with him. For help Beaumont turns to the devious Legendre, a man who runs his mill by mind controlling people he has turned into zombies. After Beaumont uses Legendre's zombie potion on Madeleine, he is dissatisfied with her emotionless being and wants her to be changed back. Legendre has no intention of doing this and he drugs Beaum丁香四房播播ont as well to add to his zombie collection. Meanwhile, grieving 'widower' Neil is convinced by a local priest that Madeleine may still be alive and he seeks her out.
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Rubén,Gámez
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This is one of the best Mexican short movies ever. You could probably imagine the Mexican idiosyncr回复术士的重启人生漫画 无修asy, read some history books, but you will find a big difference and experience the feeling of the post-revolutionary age of Mexico with this film. Labor unions, the invasion of large scale and global fore色戒 高清下载ign companies, the mother's love, the Mexican habits descriptions are part of this master piece. Adding the emotion of Jaime Sabine's narration voice in all the allegoric signs and metaphors. The problem is that is almost impossible to get a copy or to find it in Mexico, probably in Europe (I've 天海翼写真heard it was restricted by the Mexican government in that period).
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Edward L. Cahn
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Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin wit俄罗斯雏妓的BBBh the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH). As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don't go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point: "IT!' has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome. For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black & white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's "It's a Good Life")? The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!) Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. This film's story is not really totally original (what is?), for it is based on A.E. Van Vogt's "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from. As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.
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让-马里·斯特劳布,达尼埃尔·于伊耶
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The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthet关婷娜泳装ic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashba三上悠亚在线观看cks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make th绿巨人app污下载入口e layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
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让-吕克·戈达尔
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Characterized by deconstructivism and philosophical references and by bri漂漂亮艺术馆efly exposing the go不要了好深戳到肚子了od, bad, and ugly periods of the country's history, this post-modern film portrays the abstract need for guidance of Germany 七月与安生 迅雷下载following the fall of the Berlin Wall.
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Soo-yong Kim,Han Sang-Woo
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《赤道的男人》讲述的是拥有着炙热欲望的4位男女主人公的爱情故事。揭示“人类的爱情与厌恶，到底哪里才是尽头”的主题。因无法预知明天，因此今天是最开心的；又因为无从知晓明天，因此伴玩中国对明天充满畏惧。爱情、欲望、希望，既能让人活下去，也能让人痴狂 …… 金善宇（严泰雄 饰）本是喜欢打架闹事的问题青年，却与家境贫寒的优等生李长日（李浚赫 饰）成为惺惺相惜的朋友，两人本来死寂般的生活因为对方有了长歌行电视剧在线观看新的生命。善宇父亲突然自杀，追查真相的他也受伤失明，但因此邂逅了打工女韩智媛（李宝英 饰）并陷入爱河。几经波折的两人最后被迫分开，善宇更远赴美国。 多年后再次回来，善宇已是商业精英，长日也成为明星检察官，面对同样的爱人和埋藏在两人心底的秘密，两人究竟将如何继续生活…… 为了于沐瑶爱情赌上所有的孤寂，为了报仇留下的斑斑伤痕，被逼到悬崖边上的炙热欲望，就是“赤道的男人”的故事。
