失落十三年

A talented boxer and a gifted dancer hope to increase their waning popularity by inventing a fictitious love affair for the benefit of the tabloids. 阿杰(jié(🍃) )（张学(xué )友 饰）是位飞虎(hǔ )队里的(de )精英，他与父亲(➰)肥波（(🥛)吴孟达(🈳)(dá ) 饰）(🔔)的(de )关系(💓)并不好(🐜)。肥波当(🎱)年(nián )做(🧘)警察(chá )的时候得罪了重案组的(de )探长洪(hóng )坤(🍔)（秦(qí(♍)n )沛 饰）(🍳)受到报(🔋)复(fù )，以(🕙)致(zhì )生(💡)活艰(jiā(🏏)n )苦。竟在(😚)一次与(🅿)(yǔ )流氓打(dǎ )架时错(cuò )手打死了大儿子。阿杰(🥪)(jié )也因(🌝)为(wéi )如(🕚)此始终(⏫)难以原(📬)谅父亲(📼)(qīn )。此时(🐻)(shí )的肥(🐝)波(bō )已经退休，在夜(yè )总会上(shàng )班，有(yǒu )个做舞女的(🤯)女友(yǒ(📇)u )阿红（(🐨)吴家丽(🎁)(lì ) 饰）(📃)。 In the 19th century, a sadistic nobleman terrorizes the members of his family. He is found dead, but his ghost soon returns to haunt the residents of his castle. 正是个(👴)人(rén )歪(🔤)曲的(de )欲(🏵)望，才创造了扭曲的社会。 钱王钱(qián )通（李修(🃏)贤）运(😣)用金钱(🥋)(qián )与拳(🚶)头(tóu )几(😽)乎控(kò(🌞)ng )制了一(➿)切行业(♟)，并为所(🛩)(suǒ )欲为，只有号称铁胆拳(quán )王的庄(zhuāng )严才敢(🌁)(gǎn )与他(🏗)抗衡，为(❔)替受欺(😰)压(yā )的(🐴)民众(zhò(👫)ng )出头，庄(🦌)严出手(🚤)打败钱(qián )通的手(shǒu )下，但(dàn )却遭到钱通手下(xià )高手(💱)洪(hóng )鹰(🙂)的暗(à(🛎)n )算，临终(🏻)前嘱咐(🍲)(fù )女儿(🏀)（张玲(🕜)）和徒(🦋)儿鲁旦（姜(jiāng )大卫）练好他(tā )和妻子自创(🐃)的歇后(📦)拳，可惜(🔄)却(què )还(🧀)欠最后(❣)半招。 Ryan has spent years putting his brutal past behind him. A different man now to the stone cold killer he was a lifetime ago. But when an old face from the past arrives on his doorstep, Ryan is called upon to repay a blood debt from years ago. But the price is too high. Betrayed, and with his life falling apart around him, Ryan goes on a murderous, bloody revenge spree against the Ten Men who took his life away from him. Ten men took away his life. Now Ten Men Will Pay. Ten Dead Men is a pulse pounding British action feature, brought to you by the team behind the cult international success 'Left For Dead'. Written by Phil Hobden Included in Jonathan Rosenbaum’(🗞)s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’(😪)s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran.