对不起青春

Prata Palomares is a product of the "Cinema Novo" movement in Brazil, which sought to create a truly Brazilian approach to filmmaking. In this hallucinogenic, violent film, two guerilla warriors (Itala Nandi and Renato Borghi) appear in the middle of an unknown military skirmish. Their quest is to return to military headquarters. Along the way, they see a young man drinking blood gathered from the shrine of the Bleeding Virgin; he then shoots and attempts to eat a buzzard, and then meets an incarnation of the Bleeding Virgin who is being tortured and disfigured. When they see a priest killed, one of the twosome seeks to take his place and meets the same fate. The survivor then boards a boat which will probably take him to his destination. 旭日(rì )初升，清(🦆)纯少(shǎ(🥚)o )女(nǚ )黑(🔐)衣(📨)麻陶（(🈳)花泽香(xiāng )菜 配音(🌘)）终于(🚋)迎(yíng )来了(😚)期待已(🕘)久的初(chū )中入学(🎸)式，水手(🎧)(shǒu )服(fú )标(🌚)(biāo )志着(😙)青春的开(kāi )始。在学校门(🐀)口(kǒu )，她(tā(👘) )邂逅了(🌓)乘坐豪(háo )华轿车上学的(💂)同班同(tó(📮)ng )学小鸟(🖤)游优美(měi )（泽城美雪 配音），顿时(🉑)为对方(💕)的(💶)成(chéng )熟(shú )知(zhī )性气息所(📿)吸引(yǐ(👌)n )。她主动(🔼)上(🌕)前搭(dā )话，两人很快成为(🕘)(wéi )开心(➰)畅谈的(🕑)好(👃)朋(péng )友(📺)。家境优渥又怎(zě(🏪)n )样(yàng )？(🌃)履历平平(🐠)又如何(💋)(hé )？这些都没有(🐭)成(chéng )为(🧤)障碍，麻陶(🥣)和优(yō(🥧)u )美的友情不断加(jiā )深(shē(🙃)n )。快乐无忧(😘)的第(dì(🔙) )一学年转眼过去(qù )，升(shē(🕔)ng )入二年级(😓)后，麻陶(🏩)和优美分入了不(bú )同的班级。开(kā(✴)i )朗(lǎng )外(🤕)向的麻陶似乎很(hěn )快适应(📜)了新的(🏴)环(huán )境(🐩)(jì(☔)ng )，也结交了新的(de )朋友；而(🥢)一向内(🔙)(nèi )向恬(🔢)(tiá(🍯)n )静的优美虽然(rán )默不作(📿)声，心底(🔨)(dǐ )却依(yī(🍂) )稀升起(💏)几分落(luò )寞(mò )。 学(🚠)校组织(🆓)参观科(kē(🏌) )技馆，老(🌤)师给同(tóng )学们布置一篇(💌)作文(wén )，让(☕)同学们(🏉)写一(yī )写(xiě )参(cān )观科技(📘)馆的见(jià(🎸)n )闻和感(🎵)受。奇奇(qí )同学(xué )的爸妈这些天(tiā(🌛)n )出差不(🍒)在家，奇(qí )奇由(yóu )叔叔负责(🍏)照顾(gù(😛) )。看到奇(🍱)奇(💚)在写参观(guān )科技馆的见(☝)闻，叔(shū(⛺) )叔(shū )说(🔚)自(🐉)己手头刚(gāng )好有一个航(📭)天探(tà(🗞)n )险的(de )项目(👮)，缠着要(👜)(yào )跟奇奇探讨探(🦒)讨(tǎo )。其(❕)(qí )实，奇奇(🥎)的叔(shū(🦂) )叔(shū )就是一个混混，除(chú(😭) )了泡网吧(🔨)玩游戏(🧢)(xì )，什么也不会。 Sure, it's a simple trifle in film history, if even that, and seeing Sangue di sbirro today is at best mildly entertaining. For although made in the heyday of the Italian crime genre this one is no zenith. Dan Caputo (George Eastman of dubious Antropophagus-fame) arrives in New York to avenge the death of his father, a cop involved with the mafia. Dan clears up the murder (and kills what seem like some 30 people) with help of local mob boss Duke (Jack Palance) and then flies back to wherever he came from. Possibly there is a bit more to the story, but the script is so confused so there is little point in trying to describe the goings-on. Suffice to say there is a little romance, brief scenes childhood reminiscing, and a helluva lot of shoot outs. Some of which are quite exiting in a cheapo euro trash way. The highlight of the film is definitely the opening scene at the airport when Dan arrives during some sort of terrorist attack simply to shoot his way through it. All in all it's not a badly done revenge film technically, and it's clichéd in the best sense of the word, but it suffers from some seriously dragging scenes, and a poorly executed whodunit sub plot, which slows the whole thing down. Only recommended for the die-hard fan of Italian 70's crime films. 1998年11月11日(🐘)，汤有亮(lià(🏅)ng )（刘(liú(⛑) )青云 饰）一家(jiā )游玩途中遭遇严(🌶)(yán )重车(🙁)(chē )祸，汤当场身(shēn )亡，妻子程(📇)希文(wé(🌬)n )（林(lí(🌨)n )熙(🔆)蕾 饰）和一(yī )双(shuāng )儿女(🧜)侥幸逃(🌭)生，只(zhī(🤐) )是(🉑)女儿汤乐儿双(shuāng )眼(yǎn )从(🍿)此失明(🏳)。转眼(yǎn )十(🎇)年过去(🐿)，时间(jiān )并未(wèi )治(😟)愈汤氏(🚪)一家(jiā )心(🚀)中的创(🍖)伤，他(tā )们久(jiǔ )久沉浸在(👰)失去(qù )丈(🥈)夫和父(😽)亲的悲痛之(zhī )中。乐儿（(🙀)阎青(qīng ) 饰(🔍)）不愿(📙)母亲继续(xù )折磨自己，她尝(cháng )试(shì(🚷) )着(zhe )将一(👥)家人的经(jīng )历写成小说，而(🐪)(ér )书中(🐳)(zhōng )的情(🌾)节(🔶)和现实(shí )截然相反。在小(🚜)(xiǎo )说里(📲)(lǐ )，乐儿(🦂)和(😗)母亲(qīn )、弟弟死于车祸(🍈)，父(fù )亲(➕)则活了(🔆)下(🍦)来，成为(🕤)一个由菲佣照(zhà(🏴)o )顾起居(🕦)的盲人。父(🍹)亲(qīn )相(🔬)信鬼魂的存(cún )在，时刻期(🖕)盼与(yǔ )妻(😮)儿(ér )重(🍮)逢。死去的(de )乐儿在另一个(🐑)世界当(dā(🌽)ng )上了小(➖)孟婆，她(tā )利用手中的职权让(ràng )母(📼)亲和弟(🖲)弟重新(xīn )回(huí )到(dào )父亲身边。汤(tā(💂)ng )和妻儿(🔧)心(🎴)照不宣(xuān )地享(xiǎng )受着失(📘)而复得(🧜)(dé )的幸(🅿)福(🎎)生活…… Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema.