东京(jīng )新宿(🚈)某(🍡)(mǒu )个破烂(làn )的角落(luò )，生活(huó(🚓) )着一(🚱)对(🦋)(duì )姐妹。姐姐福井明美（大(⛳)山(🍣)節子 饰）经营着名为“郁金香(🏂)”的小(🎹)酒(📜)吧，兼带做着皮肉生意，其情(🧓)夫(💧)小泽健(jiàn )次（益(yì )富信孝(xià(👄)o ) 饰）(♿)日(🛍)(rì )常则担(dān )任酒吧(ba )的保镖(🤱)(biā(🏟)o )。明美(🎡)(mě(♐)i )的妹妹(mèi )绰号“金丝雀(🚟)(què )”，智(🦆)(zhì(🛃) )商低下(xià )的她是(shì )姐姐的(🛋)(de )员(👩)工。每(😋)日(👀)迎来送(sòng )往，虽(suī )在泥沼(zhǎ(🧒)o )之(🗃)中却(què )仍保持(chí )着单纯(chún )天(🚙)真的(📂)(de )本(🙍)性。
一个美(měi )丽的大(dà )学生(⏯)李(🥇)兰姬爱上了公园，同样是克拉(🥏)斯的(🍹)伙(🎪)伴。帕克是一名贫穷的学生(♐)，他(🔩)参与了一名来自朝鲜的行动(🏬)，导致(🖐)谋(😵)(móu )杀。Nanhei帮(bāng )助她为(wéi )她的情(🐮)(qí(💦)ng )人。结(🕎)(jié )果，Nanhee参(cān )与了这(zhè )些特(🎷)工(gō(🖱)ng )，并(🐩)受(shòu )到训练(liàn )，暗杀(shā )了调(😢)查(📎)(chá )负(❓)责(⏸)人(rén )Kim。然而(ér )，当她最有可能(😻)杀(🌘)(shā )死金时(shí )，由于(yú )她的懊(à(🎂)o )悔和(🌍)弊(😦)(bì )端，她(tā )无法将(jiāng )其解雇(💾)(gù(🏉) )。她告(gào )诉金的公爵基地的位(🕖)置，让(🎲)他(😿)们发牢骚。
廣東打仔 (1973)
具争议(🌠)性(🍔)和开创性的喜剧演员伦尼布(🥂)鲁斯(🎸)的(🔤)传记电影，全片追(zhuī )溯伦尼(🔌)(ní(🚌) )布鲁斯(sī )反政府(fǔ )的政治(zhì(👴) )观点(🐺)。全(📌)片以(yǐ )倒叙的(de )手法，分别从(🐣)(có(🏛)ng )母亲(🐳)、(🦊)妻子和(hé )经纪人(rén )的角度(🌑)(dù(🆔) )出发讲(jiǎng )叙了喜剧演员伦尼(🐪)(ní )布(🚲)鲁(🙌)斯(sī )的一生(shēng )。
a surreal masterpiece!
The history of the film is based on the renewal of an old friendship happening in unforeseen and strange circumstances. Seyed (Behrooz Vousoughi) is a drug addict working small jobs in a theatre to pay for his heavy addiction. One day he is visited by an old friend, Ghodrat (Faramarz Gharibian), for whom he was a role model and protector when they were teenagers. Ghodrat has just been shot by the police when an armed robbery went wrong and is now looking for a safe place to lay low for a while. Hence, he comes to stay with the only person that he could trust, Seyed. However, what he sees is miles away from the Seyed that he knew and had in mind. Although they are both happy to find each other after so many years, Ghodrat is completely shocked to see Seyed, once the ruler of the high school yards and neighbourhoods, to have become a complete and utterly useless heavy drug user living in a lowly state of physical and social being.
"What began as a documentary on sculptress Niki de St. Phalle finished up as a fantasy about a woman's attempts to exorcise the influence of her sexually domineering father. It provides an excuse for a whole ragbag of Freudian neuroses, six-foot phalluses in coffins, nubile girls in nun's habits stripping in front of altars, masturbation, some obvious jokes, pretty photography, abysmal acting, and a commentary that reads and sounds like a Home Service children's story for adults" (Chris Petit, Time Out)