马达(🍃)(dá(🍇) )民(mín )族是世(shì )界上最古老的民(😼)族(🦒)之一(🐇)(yī(🔄) )，他们拥(yōng )有(yǒu )自己的独特的民(💇)族文化(🍐)，生活(huó(🏷) )方(fāng )式和意(yì )义(yì )理念，摩根教(🐑)授(🕊)一次(⤴)关(🏜)于马达(dá )族(zú )的讲座(zuò )引(yǐn )起(🍙)人(🙉)们对(👋)马(🤜)达族人民的浓厚兴趣(qù )。劳拉(lā(🦊) )，尼古拉(📟)斯，摩根(🅾)和妮可四个年轻(qīng )人由于(🕤)(yú )不(bú(🥋) )同原因(🧚)走到一起，他们(men )决定结伴(bàn )通行(🗽)去(🛃)考(kǎ(🔼)o )察(🌐)马达人，一路上由于(yú )此行的目(🆙)(mù(🤵) )的(de )不(😔)尽(🌬)相(xiàng )同，并且存在意识上的(de )差(chà(⏮) )异，他(tā(🚍) )们(men )看起(😁)来快快乐乐，实则并不同(tóng )心(xī(♑)n )，就(🌳)在(zà(👸)i )他(🤔)(tā )们到达马达人内部围绕着要(📊)不(🈚)(bú )要(⤵)(yà(😅)o )深入马(mǎ )达(dá )人内部考察的问(🍛)题，四人(🤧)的(🌀)观念(🐜)(niàn )的差异(yì )终(zhōng )于暴发…(📤)
乔·迪(💿)阿马托(🗃)早期作品(pǐn )。这一(yī )个(gè )是与乔(🥉)治(😂)·伊(🔌)斯(🏖)曼，是(shì )谁写的电(diàn )影剧本为(wé(🎊)i )这(🅿)个称(👈)号(🌉)导演开始工作(zuò )的第一个(gè )例(🤥)(lì )子。故(📬)(gù )事讲(👖)述的是无辜的孩子(zǐ )，谁是害(hà(🎾)i )怕(👃)(pà )性(🔻)生(🙆)活，所以他所有的家人开(kāi )始(shǐ(🥨) )推(📴)他，叫(⚫)(jià(❌)o )女人说服他。事情到这里来精(jī(🐿)ng )心(xīn )担(🎈)任(👝)猝(cù(💹) )死(sǐ )的理念和成熟的倒行(🤼)逆施。比(🤣)较(jiào )特(🔼)别的(de )影(yǐng )片显示，但它仍然是一(💏)个(🐞)黑色(👣)荒(🎩)(huāng )诞喜剧(jù )与(yǔ )幽默的意大利(📬)经(📭)典Massachessi的(⏯)折(🤳)(shé )衷性的看(kàn )法。难得(dé )找到不(⭕)起眼的(🤠)标题，但(😴)(dàn )我们推荐(jiàn )它(tā )为那些(xiē )谁喜(🌾)欢解(📊)决(🗯)他们心目中(zhōng )最(zuì )疯狂的(de )情(qí(🎙)ng )况(🎬)和幻(🎧)想(😙)。（
中文名海上明珠(zhū )
门(mén )罗是(🚼)好(hǎo )莱(🔯)(lá(📥)i )坞最(✌)大牌的制片人之一，但妻子(🎗)(zǐ )的突(💂)然(rán )离(🚯)(lí )世让门罗备受打击。突然的一(🔣)场(💜)(chǎng )地(⭐)震(⚾)过(guò )后(hòu )，大家都跑到片场查看(👤)受(🌃)损状(❎)况(👄)(kuàng )，门罗(luó )也(yě )不例外。在那里他(💢)与一(yī(🏫) )个系着(🧔)银(yín )色(sè )腰带的(de )女孩擦肩而过，一(🕶)瞬间(🎳)(jiā(🏾)n )门罗联想(xiǎng )到(dào )自己的(de )妻子。为(🤖)了(🚬)找到(🏓)这(🐳)个女(nǚ )孩(hái )，门罗(luó )发(fā )动手下(🚑)所有人(🐮)搜(😹)寻女(😤)孩的信息(xī )，终于与(yǔ )这(zhè(🐷) )个名叫(🐆)凯瑟琳(🌅)的女孩相识。
本片(piàn )敘述一(yī )段(👬)(duà(🌍)n )難以(😹)處(⏱)理的三角關係.
Duras's first work of short fiction, Des journées entières dans les arbres (Whole Days in the Trees and Other Stories), was published in 1954. Consisting of four stories, Des journées entières dans les arbres touches on several themes that Duras explored more fully in her later work—particularly the developing sexuality of young women—but in form and structure is more similar to her earlier works, which tend to be realistic and conventionally structured.
美(🐎)国(🛬)(guó )内(👈)(nè(🎐)i )战期间，流寇把乔赛·韦尔斯（(🐃)克林特(😫)(tè )·伊(🚣)斯特伍德 饰）一家的(de )安稳田园(yuá(💰)n )摧(cuī(💈) )残(🚜)到家(jiā )破人亡。于是乔赛·韦(wé(🦕)i )尔(😈)斯决(🚔)定(🏆)(dìng )加(jiā )入南军(jun1 )游击队，保护手无(🚁)寸铁(tiě(🗂) )的(🔥)(de )人。内(nèi )战(zhàn )结束时，他拒绝向杀(💔)害自己(👜)家(jiā )人(🎪)(rén )的北军(jun1 )投(tóu )降，走上一条逃亡(🚴)之(🗿)路。在(🍁)路(👩)上(shàng )，他遇(yù )到(dào )一个印第安切(💞)诺(🛁)基老(📭)酋(🐓)长，一个(gè )纳瓦霍(huò )妇(fù )女，和 来(💅)自堪萨(🤽)斯的母(🌘)女俩……
Although pretty much forgotten, The Last Round aka Il Conto é Chiuso is a good example of a familiar story made fresh by the quality of its execution, as a stranger drifts into a decaying Italian industrial looking to settle an old score. But this violent modern-day (well, 1976) poliziotteschi is closer to Dashiell Hammett's Red Harvest than the first two films it inspired, Yojimbo and Fistful of Dollars, set in its own Italian Poisonville divided between two rival gangs that he soon sets against each other. Surprisingly, despite being directed by the sometimes more adequate than inspired Stelvio Massi, it's shot with striking visual imagination and remarkably fluid camera-work from Franco Delli Colli. The two leads are impressive too, with Luc Merenda a wonderfully effective and dapper villain and undefeated middleweight champion boxer and offscreen wife-beater and murderer Carlos Monzon a surprisingly effective leading man in the mould of a young Charles Bronson.
恩熙(xī )和(hé )在日侨胞(🐵)崔社长(Ⓜ)相爱了(le )，她看重(chóng )的(de )并非崔(cuī )社(🧢)长(🕴)可以(🥇)给(🔽)予自己的奢(shē )华生活，而(ér )是他(💫)们之间(🏈)真(👧)正的爱情。恩熙(xī )偶(ǒu )然结识(shí(🔭) )了(le )年轻(🔩)人安先(➗)生，面对安先生，恩(ēn )熙感受(shòu )到(🐰)(dà(🎰)o )了作(👷)为(✴)一个普通女子所能拥有的(de )不同(👉)的(🚣)(de )爱(à(😇)i )情(🈯)，于是恩熙离开了崔社长决定(dì(🍮)ng )和安先(🌜)(xiān )生(shē(🖐)ng )走到一起，但安先生最终却选择(zé(🔇) )与别人(🏧)结(jié )婚，这让恩熙倍感绝望(wàng )…(🐫)…(👨)