死亡空间余波

年轻的诗人阿米特在(zài )大学(👝)(xué(➰) )校园(yuán )中和(hé )美(🔄)丽(🥊)(lì )的普(pǔ )加相(xià(💃)ng )爱(➿)了，然(rán )而普(pǔ )加(📒)的父亲却把(📢)她许配给了建筑(🦉)师(📝)维(⌛)杰。伤心的阿(ā )米(💗)特(👽)(tè )回家接(🏁)手(shǒu )了(💰)父(fù )亲的(de )建(📆)筑(zhù )公司(sī )，后(hò(🤦)u )来(🔕)娶(qǔ )了安吉，两人(🎾)育(🦃)有一女斯维迪，而安(🚱)吉在婚前有(🏊)一个私生女萍(pí(🛅)ng )吉(🐏)，交由(yóu )卡普(pǔ )尔(🥧)医(💰)(yī )生夫(fū )妇收(shō(🕚)u )养(🌓)。 新加坡华侨李光明回到国内(⛲)，顺(🤨)便替自己的好友(🎙)魏(🕷)希友会(huì )见笔(bǐ(🌧) )友(🗯)夏(xià )小菁(jīng )。在(zà(📈)i )机场(chǎng )接魏(🛵)(wèi )希友的是(shì )小(👒)菁(🛀)(jī(🐍)ng )的妹妹夏小芸。因(🕣)为(💉)照片与真(🔲)人的差(🚨)异，“魏希(xī )友(🏜)”和小芸错(cuò )过了(🎉)(le )。之(🔠)(zhī )后为(wéi )了姐(jiě(💥) )姐(🌪)小(xiǎo )菁相(xiàng )亲的事(🎭)，小芸误以为(🤗)光明是魏希友，而(👌)光(⚓)明也误以为小芸(📀)是(📪)小(xiǎo )菁，他们(men )彼此(cǐ(📚) )试探(tàn )着，渐渐(jiàn )有了感情，但(⛺)是(🌱)都觉得对方不像(🍇)信(🕛)里所描述的性格(🗜)。而(✅)这一切(qiē )引起(qǐ )了小(xiǎo )菁的(🌥)(de )误会(huì )。此(cǐ )时，真正(🌊)的(🍯)魏(wèi )希友(yǒu )回到(🕝)国(🤠)内，主动要(🎠)找小菁(🥣)见面。得知希(🔶)友的想法(fǎ )与态(🚣)(tà(🎲)i )度，光明(míng )有些(xiē )忧(🌱)虑(lǜ )。 Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society. Chris McCormick (Margaux Hemingway), a high fashion and cosmetics model is brutally raped by her younger sister’s music teacher, Gordon Stuart (Sarandon). After pleading not guilty to the crime and being found innocent by a jury, Stuart finds a new victim in Chris’s younger sister and his own student, Kathy (Mariel Hemingway). Now even more enraged by the recent turn of events, Chris takes matters into her own hands as she seeks revenge for the crimes committed against both herself and her sister. 导演(yǎ(🏜)n )罗马(mǎ )和星(🌰)加玻谐星野风成(🥩)功(🕔)健立了阿牛这个(🍀)喜(💜)剧人物，大受欢迎，第(🎈)三(sān )集《阿牛(niú )发达(dá )记》，在(zà(🏐)i )阿(🌞)牛这个小人物身(🔫)上(💗)，依然发掘出无穷(😓)灵(🥣)感，笑料源源不绝。罗马(mǎ )塑造(💜)(zào )阿牛(niú )，生(shēng )性善(🐼)(shà(🔧)n )良戆(gàng )直，反映(yì(👐)ng )出(🔱)小民乐天(👀)知命的(🚡)人生观，野风(😁)的喜剧演绎上乘(🌇)，不(🙏)(bú )愧为(wéi )星洲首席(🤐)(xí )笑匠(jiàng )，情(qíng )节穿(⌚)(chuān )插于(yú )狂(🧦)想(xiǎng )和现(xiàn )实之(🌎)间(💺)，有喜有悲。这一次(😾)，阿(⏲)牛在街上拾得一袋(🔃)珠宝，从此(cǐ )生活(huó )改变(biàn )，坐(🗓)(zuò(🛸) )汽车(chē )，住(zhù )大屋(🔣)(wū(🏵) )，但人性的丑恶也(🐤)随(🔰)之而来。周大叔假意叫他签约(🌧)迎娶书院女(nǚ )，却(què(🆖) )是(🎽)卖(mài )屋陷(xiàn )阱，阿(🤝)牛(🚍)(niú )又回(huí(🦗) )复一贫(🚭)如(rú )洗的命(🐏)运。阿牛回到后巷(🔟)席(🤳)地而睡，梦中又见到(🖱)天降(jiàng )横财(cái )……(🌇) 绅士(shì )埃维(📨)(wéi )拉尔(ěr )多和(hé(🧜) )他(👤)的(de )家人(rén )：妻(qī(🎶) )子(🍩)艾维拉、女儿鲁西(👱)拉和埃玛、儿子塞巴斯蒂安(🌼)住(🗄)在树林中的(de )一所(💊)(suǒ(📹) )古老(lǎo )的房(fáng )子(🙉)里(🔳)(lǐ )。埃(āi )维拉(lā )尔多一家常用(🍌)蘑菇招待客人，为鉴(😠)别(🏰)蘑菇是否有毒，他(🛃)们(📡)总是(shì )让(🎨)穷(qióng )苦(😳)的(de )农民(mín )先(⏰)对(duì )蘑菇(gū )进行(📶)(há(🤦)ng )品尝，在(zài )确定蘑菇(🆎)无(🥗)毒后再将蘑菇进(📉)行烹饪。这些(💏)品蘑菇的农(nóng )民(🆖)即(⏬)(jí )为称为“蘑菇(gū(🎶) )人(🗾)”。一(yī )次，埃维(wéi )拉尔(🌈)(ěr )多在上山采蘑菇时捡到了(🏐)一(🔄)个野孩子，遂将其(🙄)收(📅)(shōu )养，并给他起(qǐ(👮) )了(🐷)个(gè )名字(zì )：加(jiā )斯巴(bā )尔(📳)。随着(zhe )时间的流逝，渐(🤓)渐(🌦)长大的埃玛疯狂(👉)地(🖊)爱上了加斯巴尔(👬)，鲁西拉(lā )对(🐫)此(cǐ )十分(fèn )妒忌(😅)(jì(📁) )，常(cháng )暗中(zhōng )监视(shì(😒) )他(⚾)们。埃(āi )维拉尔多(🍔)得知后也责(🔪)难女儿。家庭成员(Ⓜ)间(😬)的矛盾因为(wéi )埃(🔡)维(🤚)(wéi )拉尔多的(de )独断(duà(🍤)n )专行(háng )而愈(yù )发激(jī )化。艾维(🎲)(wé(🍚)i )拉试图引诱加斯(🎏)巴(🦆)尔，一天晚上，在去(🔱)加(🔪)斯巴尔(ěr )住处的路上她(tā )被(🔍)埃(āi )玛养(yǎng )的一(yī(🤥) )头(🚎)豹(bào )子咬(yǎo )死。在(🐩)参(🐸)加艾维拉的葬礼(🏎)后，塞巴斯蒂(🥌)安将家里的珠宝(📱)偷(🏮)走跑到了(le )欧洲(zhōu )。在(⛸)(zà(📍)i )取代(dài )了母(mǔ )亲(📹)的(de )位置(zhì )后(🦊)，为除(chú )掉加斯巴(🎙)尔(📷)，鲁西拉想出一计(🤶)：(➗)让加斯巴尔当“蘑菇(🙆)(gū )人”。鲁西拉(lā )的生(shēng )日到(dà(🐝)o )了(🕡)，在宴会上(shàng )，埃(ā(🕯)i )维(🐺)拉尔多、鲁西拉(🌁)和(🍷)客人由于吃了有毒的蘑菇全(🔅)(quán )部死去，幸存(cún )的(🧀)加(🔨)(jiā )斯巴(bā )尔和(hé(🔊) )埃(💵)玛(mǎ )来到(dào )深山(🥉)(shān )，这时，悲剧(🍇)发生了：埃玛被(🏾)自(🔦)己饲养的野性发作(🤥)的(🔍)豹子咬死(sǐ )。加(jiā(🐤) )斯巴(bā )尔将(🥖)(jiāng )身上(shàng )的衣(yī(🐵) )服(🍉)全(quán )部脱去，赤裸(🗼)裸(㊗)地回到了森林中 早(🔅)期香港發生多宗駭人命案，引(🔪)起(🙏)(qǐ )公眾關注(zhù )，《香(🤣)港(🐂)(gǎng )奇案(àn )之二：(🛺)兇(✝)(xiōng )殺》以真人真事改編四個故(👂)事：「鬼頭仔」、(🕦)「(😣)大家(jiā )姐」、「(🙄)臨(🌰)村(cūn )大血(xuè )案」(💡)，與(yǔ )轟動(dò(🌚)ng )一時(shí )的「紙盒(🥑)藏(🌨)屍」。編劇團以倪匡(🙍)為(🗜)首，扣人心弦的劇(🍺)情引人入勝(🛳)。擅長(zhǎng )拍驚(jīng )慄(👩)片(👴)(piàn )的導(dǎo )演桂(guì(🈶) )治(🔒)洪(hóng )，在「鬼」與「(🕜)臨」故事中，殺人情節殘酷真(🗄)實(🖕)，拍出恐怖片(piàn )的(😵)味(🥕)(wèi )道。看完(wán )四個(⏬)(gè(🍘) )兇案(àn )故事(shì )後，必定(dìng )不寒(🦗)(hán )而慄。 《恶梦》(彩色故(🖼)事(🌬)片)。 该片故事取材(📮)于(🌖)真(zhēn )人真事。这一(🦎)(yī )故事(shì )曾(💼)被(bèi )法国(guó )两位(🔀)(wè(🎨)i )电影(yǐng )者先(xiān )后采(🤜)用(🗒)过。一是青年导演(🅾)克里斯纳·(🤣)李宾斯卡于1974年拍(🤼)过(⛸)影片《我，比埃(āi )尔(🚿)·(🛋)李维(wéi )尔》，一(yī )是雷(👽)纳·阿里奥1976年拍成的本片。1935年(🛬)，在(⚪)法国南部的诺曼(⛽)地(🧣)，发(fā )生了(le )一场异(😹)常(🍒)(cháng )轰动(dòng )的谋(móu )杀案(àn )。青年(❓)农(nóng )民比(bǐ )埃尔·(👄)李(🏇)维尔先后杀死了(💔)他(🏼)的母亲，姊姊和弟(🔬)弟(dì )。如此残(🏸)忍无(wú )道的(de )谋杀(🔴)(shā(🏩) )自己(jǐ )的亲(qīn )人，到(😶)底(🕧)(dǐ )是为什么？这(👀)引起了当局(🐔)的特大关注，派遣(🦃)警(🚴)方进行调查和研(📦)(yá(🆓)n )究。对比(bǐ )埃尔(ěr )·(🌜)李(lǐ )维尔(ěr )进行(háng )耐心的交(⏪)谈(🌙)。根据他在监中的(🛵)陈(📁)述，他杀死三人的(🚭)原(💚)因是母亲(qīn )和姊(zǐ )姊仇恨她(🕘)(tā )的父(fù )亲，而他(tā(😬) )本(🎸)人却十(shí )分爱(à(🎓)i )他(💐)。至于杀死其弟弟(🕳)的原因，是“免(🍷)得父亲感到(dào )遗(🎶)憾(💹)。”事发(fā )被捕(bǔ )后，法(✖)医(🛢)(yī )认为(wéi )他精(jī(🐾)ng )神有(yǒu )病。李(🖋)维尔被判无期徒(😸)刑(💗)。但是他在狱中自(🈯)杀(🍯)身亡。留下了自(zì )己(🍈)的(de )遗书(shū )，遗(yí )书的(de )开头(tóu )是(🐗)这(🌗)(zhè )样写道的：“我(😩)，比(🏋)埃尔·李维尔…(⛹)…(🍮)” A murderous drug dealer breaks his partner out of police custody. An undercover cop is assigned to track down the two killers and bring them in.