1956年 尤(⛴)文思(⛏)应“世(💷)(shì )界民主妇(🍿)联”之(🆙)请，牵(🖌)头拍(🧟)摄分(🕙)别表现巴(bā )西(xī )、中国、法国、意大(dà )利、苏联妇女生活的(de )纪(jì )录片《五支歌》，中(zhōng )国部分的编剧为李思(sī )杰(jié )，摄影师为吴国英。
二战后的50年代，在西(xī )班牙马德(🛷)里的(🧖)一幢(📬)平民(👁)(mín )住宅楼里(🕧)，住着(📡)诸多(😏)(duō )户(🍑)谋生(🍔)艰难(🆘)的市(📹)民家(👘)庭(tí(🔺)ng )。男人(➡)们为(👠)挣钱(🗂)养家(📃)(jiā )冲(👲)锋陷(🎄)阵，女(🐨)人们(🏒)则(zé )整(zhěng )日操持(🐼)家务(🔕)，在家(👑)庭(tí(🍄)ng )这条战壕里同样英勇(yǒng )作(zuò )战。影片证明，对于(yú )每个家庭来说，影子(zǐ )部(bù )队对于她们的男人们(men )来说，绝对是须臾不(bú )能(néng )离弃的
Just released from prison after serving a six-month sentence, Fernand Bastia goes into hiding. He has indeed double-crossed his gang by keeping part of the product of a robbery for himself. Thanks to his sister Marcella, Fernand has taken refuge in a small circus where she works. There, he falls in love with Gina but also arouses the jealousy of Quedchi, a fairground stall-holder who has seen him hiding the stolen money. After a while, Fredo Riccioni, the boss of the gang and his men, manage to trace him...
将军赵仕珍性(xìng )格鲁莽，有子喜(📺)郎生(🙇)(shēng )性(🍁)顽皮(🕺)，爱妻林茹香对(duì(😀) )他束(🦈)手无(🙆)策，幸(🛩)得老(🚮)(lǎo )师(🥘)陆世(🤳)科教(💠)导有(🔖)方，特(🥩)(tè )设(🦅)宴酬(😛)谢师(🕍)恩。仕(🕰)长(zhǎ(🥦)ng )年征(😈)战沙场，与妻聚(jù(🐧) )少(shǎ(🔹)o )离多(🥝)，香为(🕖)珍织香罗(luó )带，却被儿子错拿给(gěi )科(kē )，令科误会香不贞，遂离开赵府。
One day, Ronald Grimes receives a letter from a Mr. Christianai who says he can predict the future. The letter correctly predicts the outcome of an upcoming election. More letters follow and through gambling, Grimes acquires a large amount of money. A final letter from Christianai asks for a contribution. Grimes gives it quite willingly. Later Grimes finds out that Christiani was a fraud. He was really a con man who sent out thousands of letters half of them predicting one kind of outcome, and the other half predicting another. Grimes was luck: he got the right predictions time after time.
不得志(zhì )的(de )日本画家岛村（池部(bù )良 饰）在全国各地游(yóu )历(lì )，途中经过一个名为(wéi )雪国的(🌤)地方(🏉)。在当(🙈)地(dì(💾) )的温泉旅馆，他邂(💮)逅了(🎖)(le )19岁的(🚽)三味(😔)线女(📚)艺人(😨)驹(jū(😞) )子（(🙁)岸惠(⏩)子 饰(🍗)）。驹(🏴)子(zǐ(📭) )美丽(🥓)清纯(🍝)，俏皮(❇)可爱(🕎)(ài )。岛村感于这个(🔣)女孩(🦎)(hái )的(🐵)(de )纯洁(💇)，虽心(🤐)有爱慕，却始终不愿玷污这块(kuài )美(měi )玉。在离开雪国返回(huí )东京的前夕，这两个(gè )互(hù )相欣赏却身份悬殊的(de )人终于摆脱束缚，结(jié )合(hé )在一起。次年，思念(niàn )驹子(🍲)的岛(♒)村回(🥗)到雪(🎒)国(guó )，此时的驹子(🚸)为了(🐧)报答(📞)(dá )三(🗼)味线(🛌)老师(➰)的养(🈁)育之(🍻)(zhī )恩(💒)，而甘(🛎)愿成(🐵)为艺(🤶)妓赚(📶)(zuàn )钱(🍪)为老(🆔)师的(📋)儿子行男(nán )治病(🚈)。一同(🕑)照顾(📐)行男(🌵)(nán )的(🏂)(de )少女叶子（八千草薰(xūn ) 饰）爱慕行男，她嫉(jí )恨(hèn )驹子在未婚夫行男和(hé )恩客岛村之间的摇摆(bǎi )不(bú )定。当然，这也令岛(dǎo )村心中骤起波澜。两(liǎng )人第二次的相会(🌹)便在(😓)尴(gā(🛋)n )尬的气氛中结束(⚓)，他(tā(💓) )们的(🎺)爱情(😉)终将(🚑)何去(🧖)何从(😡)(cóng )…(😭)…
剧(✴)情简(👖)介：(➡)
In the 1950s Neo-realism style was given a boost, in part by what was happening in Italy. The films of Rossellini, Antonioni and De Sica made a powerful impression on Brazil's nascent film community. A series of pivotal pictures were made in the 1950s that responded to the wake-up call of the new Italian masters. Needle in a Haystack (1953) by Alex Viany, The Road (1957) by Oswaldo Sampaio and The Great Moment (1958) by Roberto Santos are a few of the better titles. The energy of these films was felt far north of Rio in the state of Bahia, where several pictures were made. (History of Brazilian Cinema)
剧情(🥄)(qíng )简(📺)介：(📇)