不要忘记我爱你

13岁男孩帕布罗的父亲去世(🐔)(shì )了(🏯)，在村庄外(wài )的路(lù )上(🥗)，他遇(😤)(yù )到了一(⛺)个奇特(tè )的(🍄)陌生人帕科(kē(🏻) )，帕科(🕯)的车坏(huài )了。帕布罗一(⏹)开始(🔮)对(duì )帕科(🐪)(kē )有戒备，但(🐈)在(zài )感觉帕科(🥊)(kē )很(🦁)能理解自己(jǐ )后，帕布(🛎)罗逐(🕉)(zhú )渐地将(🍱)帕科视(shì )为(🤕)父亲(🥈)一样。然而(🎎)，帕科(kē )来到这个(gè )偏僻(pì(⛲) )的小(🕘)村却(què )有着(zhe )不为人知(🧓)(zhī )的(🌾)目的……(🐟) Two friends grow up together in the Sicily of the '50s. Two different destiny, two different way of life. Could their friendship survive to the mafia shadow? 美(měi )国队长的初次(cì )影像(👁)化由(🐹)共和电影公司（Republic）完(🈺)成，以(🏎)三(sān )四十(👤)年代(dài )很流(🌕)(liú )行的系列(liè(🤾) )片（(⚾)分集片） 为载体，出现(⏫)(xiàn )在(💞)观众的面(🔭)前(qián )。不过这(😹)次初登场并(bì(🕯)ng )没有(🔜)(yǒu )获得预期(qī )的反(fǎ(🤚)n )响，反(📲)而(ér )很多(🐃)人不满意(yì(🔃) )影片(📦)对于固有(🐧)(yǒu )情节的修改，比如说美国(🐃)队长(🚟)的身(shēn )份从(cóng )一个战(♑)斗(dò(🍬)u )英雄(xióng )变(💑)成了地(dì )方检(jiǎn )察官，武(wǔ(💏) )器不(👄)再是金属(shǔ )盾牌，助手(😁)巴(bā(🐗) )基没有出(♓)现等等。这部(😆)电影的价值(zhí(🏥) )恐怕(❤)(pà )就在于这(zhè )是美(mě(🍟)i )国队(👬)长的(de )处子(🌬)秀吧。 简(jiǎn )介(✖)： 亿万富翁(wē(🍔)ng )唐天(📖)德，因出(chū )身将军世家(🍅)，故亦(🌙)以(yǐ )「将(🗡)(jiāng )军」自称(♋)(chēng )。其(🌵)(qí )孙女唐(😁)嘉(jiā )嘉回国时，公(gōng )开为孙(☔)女征(😃)婚(hūn )，并扬言会将(jiāng )名(💱)下所(✊)有产业当(😟)陪嫁(jià )。消(xiāo )息一传出(chū )，引(🚸)(yǐn )起(🛃)各界人(rén )士争(zhēng )相展(😲)开热(♐)(rè )烈追求(🥟)。 故事(shì )发生(🔝)在名为“阿瓦隆(🍤)”的虚(🍤)拟游戏世界中，格蕾(lě(🏢)i )、路(🎟)(lù )西法、(🌸)卡(kǎ )奈和(hé(🐉) )叶戈四名(míng )玩(🐳)家正在同怪(guài )物进行着殊(🏒)死(sǐ(⛏) )搏斗，叶戈(🚵)最(zuì )先不敌(👝)对手(🌘)被攻克而(🌫)(ér )回到(dào )了据点，此时(shí )，在(😷)剩下(♋)(xià )的三人面前居(jū )然(🏩)出现(👪)了这个(gè(🎻) )地区的终极BOSS超(chāo )级巨鲸，它(🏼)所拥(👏)有的(de )力量(liàng )是三名骁(💰)(xiāo )勇(🌉)善(shàn )战的(🚌)女战(zhàn )士们(🍀)(men )完全无法(fǎ )匹(🚵)敌的(💘)。 年轻(qīng )的时候，爱丽(lì(😏) )丝为(🏖)自己深爱(🔠)的男人瓦尔(🎩)德偿还了(le )巨额(🛬)(é )债务，多(duō )年后(hòu )的今天(🏡)，是时(🌮)候该由他(🌋)(tā )来为她的(🐡)生活(👽)(huó )埋单了(🕗)。 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.