根据(🔨)(jù(🧣) )邵冲飞、朱漪、王(🌹)正(🤚)、林克欢原著(zhe )改(gǎ(〽)i )编(🐐)。
“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.
故(💫)事发(fā )生(shēng )在1943年二(🏵)战(✏)中 被(bèi )德国(guó )占领(⛺)下(🦁)的法国南(nán )部小镇(🎐) 法(👳)国小(xiǎo )村民(mín )Guy无意(📍)间(📠)在丛林中(zhōng ) 求助了(🍡)一(🍜)位受伤的(de )德(dé )国士(💼)兵(🥃)Rolf 寂寞聊(liáo )赖的Guy 万分(🏨)欣(😝)喜 一成(chéng )不(bú )变的(🌠)生(⛳)活终于(yú )有所(suǒ )改变(🥍) 他悉心照(zhào )料(liào )着这位新室友(yǒu ) 但(🎧)Rolf伤(shāng )愈不久 就着急(🤲)归(🐺)(guī )队 热情洋溢的Guy 使(🥋)出(💝)(chū )浑身解数 死皮赖(🏺)(là(👴)i )脸地将Rolf 留了下来 乡(👟)(xiā(👈)ng )间(jiān )激情而又平静(🈚)(jì(😣)ng )的生活使Rolf 原本的严(😬)(yá(😐)n )肃(sù )和冷漠的心 慢(🔜)(mà(🍺)n )慢融(róng )化 也使得Rolf慢(🐍)慢(🕒)对(duì )Guy 产生了默默的(❕)(de )爱(🍤)恋(liàn ) 可一天清晨 黑(🚿)衣(⛳)(yī )三人将Rolf带走 怒火(⏭)中(📓)(zhōng )烧(shāo )的Guy 拿出Rolf的手枪(🤧)(qiāng ) 尾随而至 在一声枪(qiāng )响(xiǎng )中悲剧(🥈)结尾……
古(gǔ )代有(🌐)个(👣)成天埋(mái )在(zài )书堆(🕝)里(🆙)的书呆(dāi )子，认为凡(🔵)事(📌)都能从(cóng )书中找到(🍯)答(🐳)案，由(yóu )于死读书不(🕠)求(🎢)甚(shèn )解，他的“全信书(🌜)(shū(🍺) )”往往是断章取(qǔ )义(🔬)式(🚨)。
手塚治虫原(yuán )作(zuò(😶) )の(🉐)ファンタジーメル(🏌)ヘ(🕳)ン『ユニコ』を原(🤨)作(🐘)とした短(duǎn )編オリ(🐡)ジ(📗)ナルビデオアニメー(🌂)ション作品。
奥斯卡(kǎ(💝) )（大卫·本奈(👿)特 David Bennent 饰(shì )）的家庭有(🥪)些(🚵)荒(huāng )诞。他的母亲和(🦓)自(🍺)(zì )己(jǐ )的表弟相恋(🕜)，由(🍫)于(yú )近亲不能结婚(🤝)，所(🗣)以被迫嫁给了一(yī(🔢) )位(⭕)商人。奥斯卡(kǎ )是谁(🌵)的(🕦)孩子只有他(tā )母(mǔ(🤼) )亲(😺)知道。在他(tā )三岁生(🐤)日(🌄)那天，母(mǔ )亲(qīn )送了(🍾)他(🦈)一面铁(tiě )皮鼓(gǔ )。奥(🎧)斯(🌲)卡十分喜(xǐ )欢，整天(⏺)挂(💜)在(zài )脖子(zǐ )上敲。
西蒙(🌏)的父(fù )亲一个声名狼(🍽)藉的(de )歹(dǎi )徒, 他(♒)不想和父(fù )亲一样(💕)要(⏪)在监狱里(lǐ )度(dù )过(👷)余(🏃)生，所以(yǐ )他设法逃(📪)脱(✈),在叔叔(shū )的(de )帮助下(👓)，他(🚉)在(zài )故乡(xiāng )找到了(🐰)一(🕗)个藏身(shēn )的地方，然(🍲)而(⚓)(ér )他必(bì )须与一个(👹)从(🐿)事勒(lè )索的女子Franoise共(🆎)同(🏋)住。一(yī )天他们的藏(🕛)身(🍱)(shēn )之处被警察发现(🧥)了(🈳)(le )，西蒙和Franoise苍茫逃(táo )走(😽)。就(🐷)在他们亡命天(tiān )涯的(📉)同时，两(liǎng )人之(zhī )间产(🖖)生了一段可(kě(🍣) )歌可泣的爱情......
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