富翁(🛀)(wēng )曾和度（谐音(yīn )“真糊涂(🐅)”）吝(📩)啬 成(😥)性，其子曾伯稼（谐音“真败(➿)家” ）(📬)热心(🚓)地方公益(yì )，施济(🛠)贫寒。曾和度 忧(📈)虑伯(🍻)(bó )稼因此败(🥖)坏家(🛃)(jiā )业，诱逼他吸食 鸦片，以达到闭(🚥)门守(📻)业的(💡)目的。从此 伯稼(jià )终日沉溺(🚭)烟榻(🤖)(tà )，意(😛)志消沉，不理 家业。曾(céng )和度见此(🌜)后果(🏬)，痛心家业难(🌼) 保，恼(🚖)恨而死。伯稼妻(🐊)张氏，屡劝丈 夫戒(🖋)烟(yā(😣)n )反遭(🌵)辱骂。不(bú )久，伯稼子误将 鸦(🤢)片当(🕜)作糖(🏴)果吞食，中毒死亡。伯稼 之母(🍏)(mǔ )眼(🌱)见丈(🌋)夫去世(shì )，孙儿夭(🏫)亡，悲愤 交加，也(🐋)(yě )一病而殁。曾家(📂)店伙(☕)卜遥莲 （谐音“不要脸”）和梅志(🎹)实(shí(🈲) )（谐(💨)音 “没知(zhī )识”）乘伯稼(jià )办(⏹)理丧(🍩)事，侵(🔥)(qīn )吞 大量财物，暗中在外挥霍。几(🍗)年时(😺)间 ，曾家财产(📉)已消(🌆)耗(hào )殆尽，而伯(🚓)稼(jià )仍每 日依恋(👽)烟(yā(🏧)n )毒，不(🐙)思悔改。张氏因苦劝 无效，饮(🕙)恨投(😂)河自(😱)尽。张氏死(sǐ )后，卜 遥莲和(hé(🥑) )梅志(⚓)实乘(🕸)机变(biàn )卖曾家全(➗)部产(chǎn )业 ，勾结(🦌)婢女将伯稼之女(🗄)真真(🍩)卖入娼门 ，又骗去伯稼赖以(yǐ )生(🍫)活的(🙂)一笔(📌)保(bǎo )险金 。从此，伯稼流落街(👐)头(tó(😞)u )，拉人(🎓)力车糊 口。一日，其女真真坐伯稼(🍇)车出(👴)堂差 ，父女(nǚ(😣) )相见(➕)，百感交(jiāo )集，未(💄)及倾诉(sù )别 后之(🍱)情，即(🥟)被鸨(🤔)母驱开。伯稼后悔莫 及，饥寒(🌞)难忍(🏃)，倒(dǎ(😔)o )毙于城门之下(xià )。
Une mère perd d'abord son fils, puis son mari dans les tranchées françaises de la Premiè(🌈)re Guerre mondiale. Elle se dévoue alors à(🏭) la cause française en venant en aide aux blessé(🗓)s de guerre.
朱莉3岁(suì )的(🔦)小女(⏮)儿在15年前失踪(🐜)了，这么多年来，朱(🍜)莉一(🏟)直陷于丧女(nǚ )之痛中无法自(zì(✂) )拔。无(🐸)论丈(👕)夫(fū )或儿子怎么劝(quàn )慰，她(❓)仍旧(💅)无动(⏰)于衷，在自己的世界里独自悲伤(💟)，整个(🍆)家(jiā )庭也因(🔗)此逐(👑)渐(jiàn )散掉了。直(😛)到(dào )有一天，一个(👳)有着(📓)复杂(📲)背景的年轻女人走进了朱(📂)莉的(🙍)生活(❕)(huó )，在相处过程(chéng )中，朱莉内(🏽)心(xī(🎽)n )的伤(🏤)痛被她慢(mà(😘)n )慢化(🎈)解，朱莉发现这(🥣)个女人有可能就(🙆)是当(🤢)初自己失踪的女(nǚ )儿……
《野猫(🅾)(māo )》讲(🏾)述了(⬆)男主(zhǔ )人公像山里的野猫(🦋) 有一(🔙)股野(👉)劲，最后终于收获了爱情。
瑞典當(🤹)年成(🔞)本最(zuì )高的(🥄)默片(📖)，也(yě )被視為早(🅿)期瑞(ruì )典影史必(😚)看經(🌫)典。全(💴)片幾乎實景拍攝，拍攝難度(⏭)與戲(📒)劇張(🌾)(zhāng )力超越當代。原本平凡的(🌰)水(shuǐ(🚩) )手，戰(㊗)時為了(le )養家(⛅)活口(🌪)冒險出航，卻被(🛑)軍人所俘。多年後(🥪)脫身(🏖)返家卻人(rén )事已非，只有(yǒu )滿腔(🚵)怨怒(🎮)相伴(🦖)(bàn )。某天，當年俘虜他的仇敵(🍴)與相(🥓)隨的(📉)妻女海上落難待援，他奮勇而至(🤜)，卻陷(❤)入「復仇(chó(🧜)u )還是(🔷)救援？」的天(🗞)人交戰。
A stern indictment of the shabby ways in which society treats it recovering ex-criminal class, Die Verrufenene follows the saga of an engineer recently sprung from prison as he attempts to rebuild his life. Having served out his three-year sentence, Robert Kramer embarks on getting back to work and living a clean, honest life. He finds that getting back into society is more difficult than he bargained for, however, when he is shunned by his father and the wealthy family of his ex-fiancee, Gerda. Scraping by in the city slum, working for an indifferent rag maker who prefers to pay in booze over cash, the dejected Robert decides to end it all. He's saved, however, by a kind-hearted prostitute named Emma, who shelters the man in the modest apartment she shares with her ne'er-do-well brother, Gustav. Eventually, Robert starts to patch his life back together through the help of Emma (who becomes enamoured with Robert) and a generous old photographer who employs him as an assistant. His world gets upended once again, however, when Gustav is implicated in the murder of one of Emma's clients.
For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence.
滑稽大王(📺)选汽(🏻)车不(🐪)靠眼睛，要汽车一字排开(kā(🆑)i )，靠闭(🍧)了眼(⛱)睛(jīng )用手去摸；滑(huá )稽大(🥍)王坐(😏)的轿(😜)(jiào )子不能坐(👀)，轿子(🔋)没有底，只能两(🥟)只脚踩在地上，脚(🌐)和轿(🤰)子(zǐ )一起停停走走(zǒu )；滑稽大(👤)王坐(📯)(zuò )汽(🧗)车，滑稽大王练体操，滑稽大(👦)王踩(🕖)水车(⚡)、放牛，滑稽大王参加宴会无(wú(⛄) )一不(👆)给人带来(lá(🎉)i )麻烦(⛎)和笑声。最后，在他即将离开上海(💔)的时(💪)候，更(🔀)是闹出了真假滑稽大(dà )王(🆕)的笑(🛴)话。
记(✳)(jì )录摄影师雇用(yòng )前罪犯和经(💼)验(yà(😱)n )丰富的演员(♍)体验(🙌)犯罪受害者和(💻)犯罪者时发生的(💘)事件(🌄)。