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马特(⏯)．狄龙(lóng )初登(🛁)银幕(mù )的处女作，一部(🐆)反映(yìng )七十年(☔)代(🎛)未(wèi )期(qī )美国青少(🛷)年(🌱)人生迷(mí )茫(⛸)(má(👛)ng )的社会问题片。故(gù )事(🛢)(shì )背景是加(jiā(😚) )州小镇的(de )中(zhōng )下层社(🔴)区(qū )，年轻人(ré(🚤)n )生(🎥)(shēng )活空虚，缺(🎞)乏正当(🔉)(dā(📠)ng )娱(yú )乐，于是(🔞)转(♊)向摇滚乐(lè )、迷幻药(⚾)和性发泄寻(xú(😂)n )求满足。当地警察意(yì(⛺) )图(😀)扫荡孩子们(🌃)的(🔏)毒品(pǐn )交易(🤱)，卡尔(ěr )深(🖼)受困扰(rǎo )。于是(⭕)跑去(qù )找小无赖(lài )里(☔)奇帮忙，因为他(🧑)有(⛱)(yǒu )枪，不料事(shì )情发(🏞)展(💉)越(yuè )弄越糟(🗜)，暴(🥕)(bào )力(lì )事件一发不可(🥁)收拾(shí )。导演乔(🦓)纳森．卡普(pǔ )兰(lán )以(🍛)敏锐面(miàn )灵活(☕)的(🔲)手(shǒu )法(fǎ )表(📙)现年轻(🛁)(qī(🗣)ng )人的叛逆(nì(🦔) )感(💢)(gǎn )觉，效果不落俗套，以(🎩)大量摇滚乐歌(♈)曲为(wéi )基础的电影配(🙂)乐(👊)更令(lìng )人有(📯)活(😣)力充沛之感。 Min-wu is a would-be mystery writer working at a detective agency. Choi Seong-du has Min-wu trace his wife Mi-kyung. In the process, Min-wu witnesses the discord between love and hate and is able to solve his problems. 本片是五(🕊)十年代引起(qǐ(🚣) )争议的电台(tái )DJ 艾伦弗(✉)．德的传记片(😎)(pià(🧒)n )，故事多(duō )彩多姿。由(🦒)(yó(🎆)u )提姆．麦(mà(🔠)i )金(🦎)泰尔饰演(yǎn )的主人翁(⌛)(wēng )，在时代风(fē(🚁)ng )气(qì )尚称保守的年代(🦐)大(dà )力(lì )提倡(🔉)摇(🏝)滚乐，透过(guò(⛵) )他(tā )的(👚)广(🌿)播节(jiē )目卖力(🔢)推(tuī )广(guǎng )这种被一(yī(😂) )些家长视(shì )为(😀)(wéi )离经叛道的靡靡之(🥂)音(👠)(yīn )，以至遭警(🏘)察(🌓)取缔。但他毫不屈服，终(🎙)于(yú )让大众接(✒)受了一个音(yīn )乐新纪(🍏)元。 "El Andarín", a mythical guerrilla of the fifties, goes down to the open-air dance. A little girl looks at him with her big eyes. Years later, that girl has become a beautiful woman, Amparo, in love with the member of the resistance. But "El Andarín" is already someone condemned to be a loser. Hided deep in the forest, he has become a harassed beast. Juan, brother of Amparo, returns after several years of exile to convince him to leave the mountain and to get safely away from there. But Juan ignores the relations that his sister has maintained with "El Andarín". Going through the filmmography of Jess Franco is never an easy thing because not only do you have to go through more than 200 movies but you've also got to go through countless alternate versions. Sometimes films can have four or five alternate versions with newly shot scenes, alternate footage or footage thrown in from another director. In 1974 Franco made a film called EXORCISM, which was a very dark mix of sex, religion and violence. It was also released in a softer version under the title DEMONIAC and another version with XXX footage called SEXORCISMS. Then, in 1979, Franco took footage from EXORCISM and added a new plot around them and the end result is this film, THE SADIST OF NOTRE DAME. “Jon Jost’s Chameleon was probably the happiest instance of a mixed marriage at the Festival (Edinburgh 1979): combining a freak, trippy (in fact almost Corman-esque) saga of a dope-dealer and all-round hustler with an abstract distillation of patterns of color and light. The place of the latter in the film is both somewhere within the drug-laced nimbus of its title character, Terry (Bob Glaudini), and somewhere outside its ironic description of the rampant merchandising of all other human activities. In a way, this abstract element almost serves as a secondary narrative, or at least becomes the ‘(🥧)point’(🏐) of the film. At the beginning, Terry is seen hustling a painter of just such abstract designs to come up with six imitations of another painter which he can unload on the art market. With some ‘persuasion’, Terry overcomes the painter’s reluctance, and at the end of the film returns to collect his merchandise. But the rolls of paper his is given turn out to be blank, and the painter defiantly protests, ‘My life is color, form, the shape of things...’ before Terry knocks him down and leaves him lying in a pool of spilled colors that returns us to the abstracts which were shown in detail in the opening shots. It is probably not too deterministic a reading to see Jost as the painter and the blank sheets as the conventional movie which he has refused to provide for audience consumption. 本(běn )片(🐻)是(🍌)英国著(zhe )名的(🌱)喜(🐵)剧(jù )团体Monty Python的成员(yuán )特(🈚)里琼斯(sī ) (Terry Jones)导演(🍐)的一部(bù )荒诞不经(jī(😢)ng )的调侃宗教(jiā(🕛)o )的(⏬)(de )电影,故事的(💁)发生地(🦉)(dì(🚦) )在(zài )巴勒斯坦(🔞),讲述了一(yī )个(gè )普通(🍳)的男(nán )人被世(🍾)人(rén )误(wù )认为是弥(mí(🌚) )赛(🔤)亚(犹太(tài )人(🐊)(ré(🔵)n )企盼的复国救主)，由(yó(💖)u )此引发了许多(🎯)啼笑皆(jiē )非的故事，一(🛶)如Monty Python所有(yǒu )的电(🖌)影(♿)那般，特里琼(qióng )斯在(🙇)这(🚗)部电影中也(🔣)使(🦕)(shǐ )用了大量荒(huāng )诞无(🔺)厘头(tóu )的笑料(😼)，电(diàn )影以圣经(jīng )为原(🥒)型，由(yóu )头至尾(🕣)都(🧡)(dōu )充斥着颠(🤼)覆(fù )，嘲(🔣)讽(👘)的(de )意味，对于(yú(📌) )虔(qián )诚的宗教人士来(🏡)说(shuō )，这部电影(♐)确实是场(chǎng )巨(jù )大的(⏰)灾(🍪)难(nán )。 美国当(🍂)(dā(🐏)ng )局(jú )为了维护大石油(🆒)寡(guǎ )头(tóu )的利(➡)益，鼓励资源消(xiāo )费，强(😳)制规定卡车司(🖕)(sī(🎍) )机的时速为(😐)55公里/小(♓)时(🤸)(shí )（最耗油(🎓)的(💞)时速)。一(yī )伙绰号分别(👿)叫鸭子、猪圈(🎑)的几个(gè )大卡车司(sī(🍹) )机对此极为(wé(🔰)i )不(🥉)满，无(wú )视法(🧘)律保持(chí(🌧) )经济时速(sù )行(✡)驶，并在(zài )公路上与一(🏦)个贪腐的(de )警(jǐ(📭)ng )察斗智斗法，卡车(chē )司(🐙)(sī(🆒) )机们的队伍(🎩)日(✂)益壮(zhuàng )大(dà )，政府动(dò(👲)ng )用军警进(jìn )行(🆔)(háng )镇压，最后当局将(jiā(🌐)ng )鸭(yā )子的领头(🍳)车(⚓)炸毁在桥(qiá(💱)o )上，然而(💐)鸭(👖)子却奇迹(jì(🏴) )般(♊)生还，受到美国民(mín )众(😹)英雄般的欢呼(🎷)。这(zhè )是中国改革开放(🎏)后引(yǐn )进的第(🈶)一(🌠)部(bù )美国电(🛌)影(yǐng )