电影礼物

A Man Called Peter is a 1955 American drama film directed by Henry Koster and starring Richard Todd. The film is based on the life of preacher Peter Marshall, who served as chaplain of the U.S. Senate late in his life, in an account written by his wife Catherine Marshall. It was nominated for an Academy Award in 1956.[4] 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. Сума(♒)сшед(💌)ший? М(📽)аньяк? Или д(🕹)ьявол, обл(😃)екши(🤨)йся в(🕵) плот(🏪)ь киб(💛)ер-бо(🎊)йца, о(🙄) кото(🛴)ром мечтае(🔇)т шес(🀄)тнад(⬜)цати(💀)летн(🔱)яя Ли(🍼)за, по(👥)вёрн(💦)утая(🥂) на компьют(👃)ерны(🔢)х игр(📯)ах? Сд(🗡)вига(😊)ется(🎅) чугу(📤)нная(🤥) крышка люк(🆔)а, и из инфе(📸)рнал(🤳)ьных(🖲) недр(🎈) подв(🏦)ала в(🐃)ыход(🎓)ит Не(⛳)кто… В эту н(👾)очь в(🤾) стен(🎆)ах ст(🐥)арой(➖) конд(📷)итер(📧)ской(🎤) фабр(🍛)ики виртуа(👺)льно(🏘)е ста(🍈)нови(🗝)тся р(🤡)еаль(😓)ным…(⛓) В эту(🏡) ночь пусты(👿)нные цеха(🚗) прев(🎼)раща(➰)ются(🥧) в лаб(🈳)ирин(🍦)ты же(🌸)стко(🔏)й игры, в кот(💳)орую(⌛) пред(🖱)стои(💻)т сыг(🙍)рать(⚪) Лизе(🤭)… Игр(🏭)ы без правил. ИГР(✖)Ы, ГДЕ(🚎) «МОЖ(😔)НО ВС(🥪)Ё»… 在(🚾)(zài )这个有(🐴)着三百六(🀄)十万居民(🦁)(mín )、被(bèi )一些华人称(📺)为满地(dì )克的北(bě(🚣)i )美大都市(💘)里，生活着(🏅)十六(liù )万(🎳)大(dà )学生(🔂)，其中一万(📑)九千多人(🏬)(rén )来自加(🍱)(jiā )拿大之外。《应召(zhào )女(🤴)郎(láng )》（法(🍥)语：《Serveuses demandées》；(🕔)英语(yǔ )：(😱)《Waitresses Wanted》）就是讲(🎰)述这个被(🏜)(bèi )人们(men )叫(😜)(jiào )做国(guó )际留学生群体生活(huó )的故事(shì(🎒) )。电影的主(🦒)要情节(jiē(✡) )是：一(yī(🐯) )位来(lái )自(🍛)巴西的女(👙)孩子在(zà(🔆)i )学生签(qiā(🤒)n )证过期后，在生活陷于(💨)绝(jué )境之(🚮)(zhī )时，被一(🚼)位在色情(👼)(qíng )酒吧工(🏳)(gōng )作的同(⚪)乡介绍去(🙂)作脱衣舞(📨)(wǔ )女郎(lá(🗃)ng )。 大学教授胡安霍Juanjo（费莱(lái )·马(⬇)丁(dīng )内斯(⏮)饰）被女(🛏)友塞(sāi )莱(♐)丝(sī )特Celeste（(🔰)莎洛美·(🏟)希门尼斯(🥎)饰(shì )）甩了(le )，而她又没有向他(tā )做出(chū )任(😙)(rèn )何解(jiě(🐵) )释。拘谨斯(🏛)文的胡(hú(😗) )安霍非(fē(💯)i )常沮丧，他(🍄)心中丢(diū(📍) )不下(xià )塞(👃)(sāi )莱丝(sī )特，一心要与(🐐)她重(chóng )修(🎈)旧好(hǎo )。他(😫)的两个学(🐆)生决定帮(💃)(bāng )他(tā )—(🚦)—尼科Nico（(❗)亚当·耶(🗄)杰(jié )尔斯(👚)基(jī )饰）想方设法找这对前情(🎐)(qíng )人和(hé(🚍) )好的机会(👆)，卡门Carmen（阿(🙁)玛娅(yà )·(💅)萨拉(lā )曼(🚟)卡饰）则(🥉)“教”老师(shī )脸皮放厚练胆量。 1999年12月、夫婦で(🥀)ワゴン車(🐾)に乗って(🆘)旅をして(☝)いる最中(🚹)に末期が(🤖)んだった(🤨)妻が車内(👓)で亡くなり、保(bǎo )護(👞)者(zhě )遺棄(🎇)致死事件(🕔)として報(⛓)道(dào )され(🏣)た実話を(😧)、三浦友(🥂)(yǒu )和(hé )と(🐍)石(shí )田ゆ(🍴)り子主演で映(yìng )画化。当事者の(🐴)夫・清水(🍷)久典さん(🌛)による同(😒)名手記を(💽)もとに、(🥄)死と向(xià(🧐)ng )き合いながら9カ月(yuè )間にわたって旅を(🚝)続けた夫(🙄)婦(fù )の深(🐷)い愛を描(✖)きだす。三(🧥)(sān )億円(yá(😀)n )強(qiáng )奪事(🖊)(shì )件を題(🍍)材にした映(yìng )画「初(🥋)(chū )恋」の(🎟)塙幸成監(🈂)督(dū )がメ(🌉)ガホンを(🕋)とる。 寝た(⌛)きりな上(🏚)に不能の(🗄)夫に代わ(🌼)って印(yìn )刷(shuā )工場(chǎng )を切り盛(👈)りする富(👒)(fù )子は、(🔱)欲求不満(🚎)を夫のリ(🧖)ハビリに(💃)通(tōng )う病(🎉)院の看護婦・杏子とのレズ行為で発散(🥁)していた(🐰)。だがある(🔝)日、雇っ(📬)たばかり(🚚)の隆(lóng )三(🥩)にレイプ(😞)され、激(🔟)しく燃え上がってし(🆒)まう。やが(🛺)て、体を(📋)重ねるう(🕎)ちに富(fù(🎏) )子(zǐ )は隆(📄)(lóng )三とど(🚿)こか遠く(⛴)で人生を(🍞)やり直したいと考え始(shǐ )め、(🖲)夫(fū )の殺(🎼)害を計画(🏽)するが…(🌛)。 Film follows a young couple who are parasites on the lives of others. The film makers largely leave out explanations. Viewers find themselves in the middle of a thriller-like story without knowing the background of the two, and is also left with questions at the end. In the meantime, a strange life becomes visible. The couple lives in a small camp in the woods, with a tent, sleeping bags and empty wine bottles. Isolated, but also unprotected. The girl visits a lonely old lady, for money. The boy also goes to see a married couple whose son died, for a fee. Both think they aren't doing anything wrong, but their work is not without risks.