文化局禁播动漫

富商罗(luó(💈) )孝先本(běn )有一女(🏧)，却因(💐)父母重男轻(📣)女，其(🔧)(qí )妻暗中(zhō(📖)ng )把初(😘)生(shēng )女儿换(🎏)来现(✏)在(zài )的长子世达(🕝)。先刊(kān )登广告(gà(🍴)o )寻女，其司机张甲(🐻)收(shōu )买姜魁元将(⬛)女儿玉(yù )凤带来(🤵)(lái )冒(👪)认先(xiān )女。先(👕)(xiān )的(🕦)情妇(fù )刘露(🐼)茜为(♏)讨名份，亦带(🚤)同(tó(🤾)ng )与前夫(fū )所生女(🌼)(nǚ )儿刘安(ān )妮到(😱)来认父，先妻把二(❕)女(nǚ )一并留(liú )下(👛)以辨(biàn )真假。甲与(🕴)露茜为女儿各出(🎋)奇谋(🈵)(móu )，凤和(hé )安(🔕)妮亦(🍝)(yì )斗个你死(🦉)我活(🍧)。不久，孤女李(♊)美(mě(⛎)i )君又前(qián )来认亲(👗)(qīn )，令先夫妇大(dà(🤢) )伤脑筋。元向甲讨(🙋)(tǎo )钱不遂(suí )，揭穿(🙆)(chuān )凤身份，安妮(nī(🚽) )亦因(🙋)与先次子世(🔸)宜(yí(🦃) )相恋，说出真(🤥)(zhēn )相(🧢)。先(xiān )夫妇以(🌴)(yǐ )为(🌚)君是亲女，却空(kō(⏲)ng )欢喜一(yī )场，但(dà(📅)n )他们实(shí )在喜欢(🐎)(huān )君，于是认她作(🍹)干女儿，皆大欢(huā(🥌)n )喜 1940 华新(xīn )影片公(👌)(gōng )司(📋)出品，摄影周(🐈)达明(🏝)。 平(píng )山周吉(💜)(jí ){宇(🦗)津井(jǐng )健饰(🐆)演}和(🚠)登美{八千草熏饰(☝)演}是一(yī )对上了(😋)(le )年纪的(de )夫妇，俩口(🐵)子(zǐ )的生活略感(📓)孤独寂(jì )寞无聊(📩)(liáo )，于(🥥)是(shì )决定往(🆑)东京(📋)一(yī )行，探望(👃)已经(🥓)成家(jiā )立室(❄)的(de )儿(😡)女。他们兴(xìng )致勃(🏻)勃(bó )地抵达，但却(🏹)受到(dào )颇为冷(lě(🍸)ng )淡的招(zhāo )待。儿(é(⏩)r )子、媳(xí )妇、女(👲)儿、女婿都因生活(huó(🌑) )的重压(yā )而(🐙)相当(😓)(dāng )忙碌，无暇(🔎)招呼(🍚)两老，因此建(🔼)议(yì(🕓) )他们去(qù )热海渡(🔏)(dù )假，表面上是让(💡)他们有个松弛和(🚖)(hé )游览的(de )机会，实(🦂)际上却是希(xī )望(🎠)摆脱(➕)他们。只有(yǒ(🦀)u )年轻(🥅)守(shǒu )寡的媳(♟)(xí )妇(🛎)纪子，对他(tā(⏮) )们比(🎆)较关怀和体贴(tiē(🤼) )。 就在(zài )两老返(fǎ(🏠)n )回老家(jiā )不久，儿(🤕)女们便接到母亲(😛)(qīn )病重的(de ) 电报。他(☔)们遂(suí )回乡探(tàn )访病(💛)势危殆的母(📑)亲，后(🤖)者(zhě )已经无(🍙)(wú )法(🥒)辨认(rèn )他们(🖕)。葬礼(💤)之后，儿女们又匆(🏘)匆(cōng )忙忙地(dì )赶(👮)着回(huí )东京，只有(👵)纪子多留数天，陪(🚅)伴(bàn )暮年丧(sàng )偶(🌩)的老(🕓)(lǎo )人家。纪子(👢)承(ché(🌂)ng )认守寡对她(😩)而言(🎪)是(shì )相当困(🚋)(kùn )难(🔜)的事(shì )，老人便劝(😔)她(tā )改嫁。然后，平(🐅)山(shān )老先生(shēng )孤(🌍)独地(dì )守在屋(wū(💅) )里，想(xiǎng )着他将要(💒)渡过的孤(gū )苦的晚(wǎ(🗄)n )年。 1913年(nián )的巴(🏋)黎(lí(🚜) )，可可(kě )·香(🛋)奈儿(🐞)（安娜·莫(⏲)格拉(🌍)(lā )莉丝 Anna Mouglalis 饰(shì )）在(🚱)俄(é )国作曲家伊(🔘)戈尔·斯特拉文(📲)斯基(jī )（麦德(dé(🌎) )斯·米(mǐ )科尔森(🛴) Mads Mikkelsen 饰）(💑)的《春之祭》首(🤥)演中(⏲)(zhōng )首次注(zhù(💿) )意到(♏)了(le )这位被观(💄)众的(🧐)(de )嘘声与喧哗沉重(🍌)打(dǎ )击的音(yīn )乐(🧢)天才(cái )。七年后，二(🔎)(èr )人再次相遇，可(🤖)可(kě )慷慨邀(yāo )请(👇)因俄(é )国革命(mìng )而流(🚶)亡(wáng )法国的(🏑)伊戈(🥃)尔携乐(lè )评(⬇)人妻(😿)(qī )子卡特(tè(🏞) )琳娜(🛎)（伊莲娜(nà )·莫(🛃)罗佐娃Yelena Morozova 饰）和四(🥟)名子(zǐ )女搬入(rù(😘) )自己在(zài )巴黎郊(🌿)外的府邸。随着时(😰)间的流(liú )逝，可(kě(🎬) )可与(🏵)伊(yī )戈尔之(🏒)间愈(💹)发相互吸引(🍒)。与此(⛓)同(tóng )时，可(kě )可也(🎛)在(zài )积极研发自(🔲)己(jǐ )品牌的香水(🤪)。病中(zhōng )的卡特(tè(🐬) )琳娜还(hái )是察觉(🤱)了自己(jǐ )丈夫对可可(👘)的激情(qíng )，三(🈹)人(ré(🥜)n )的关系(xì )变(🐧)得越(🐉)(yuè )来越紧(jǐ(🔃)n )张…(🤘)… 一支美军小分(➗)队滑(huá )雪深入(rù(🧛) )敌后，历经艰(jiān )险(🐬)炸毁德军的铁路(😒)桥梁... Delicate and surreal. "A hora mágica" is a mix between a noir movie and a fantastic, surreal movie, dealing with the contrasts between reality as it is and reality as we want it to be. Life imitates art, but what life? What art? Is any of it worth it? The acting, the scenario, the timing, all promote an air of falsehood, and for a good reason: this is the land of fantasy, of desire, a place to try (and fail) to escape the roughness of real life and join the paradisiac land of the movies (or, as it is, of radio soap-operas). And this is why it also explicitly resembles a noir movie, the kind of movie that epitomizes the glamour of Hollywood. This game between reality and fantasy is paralleled to the shock originated with the arrival of TV in Brazil, rivaling radio, as TV virtually destroyed the radio soap-operas (the main character is a radio soap-opera actor). All in all, a delicate film, beautiful to the eyes and the soul, well-done technically, and with a good soundtrack. In particular, the final sequence is simply perfect, maybe among the most beautiful in the history of cinema; that sequence alone justifies recommending this film.