The stage comedian Carlo Verdone directed and stars as the three main characters -- Furio, Mimmo, and Pasquale -- in this classic Italian comedy. All three men are driving back to their hometowns to vote on election day, and each has a different story and a different though easily recognizable personality type. The movie follows by a year Un Sacco bello (1980). Both the movies are just a kind of "collage" of all Verdone characters played during his TV shows in the '70s. Nevertheless clearly we are in front of his first steps as film director, Carlo demonstrated already his big talent to underline trough his comedies the Italians and their defects. For anyone interested in Verdone cinema this is a must. For everyone happy to see a fine comedy about Italians this is a must. To have funny time in the Verdone's way this is a must. Twenty-four year later this "Bianco, rosso e Verdone" is still actual and unequaled. A must see.
A senior in highschool becomes determined to enter a certain university because of her infatuation with a self-centered baseball player who attends there
Man meets woman, and invites her home. The two start an intense relationship in order to shield themselves from loneliness.
秦(qín )梦丈(🎓)夫被谋财害命，化成冤魂求助妻子(zǐ )附(🎺)身布娃娃(wá )上京(🤜)告御状(zhuàng )的故事(🏾)
阿耀(yào )嗜賭成性(😼)欠下巨款，無奈之(🏡)下將妻小賣(mài )給(🥫)高利貸，妻子受盡(🔪)淩(líng )辱舌頭被割(🏔)，憤而自盡，八歲兒子離(🗡)奇失蹤。兩年(nián )後(🐽)依然嗜賭(dǔ )成性(🆑)負債累(lèi )累的阿(🍂)耀逃亡至泰國南(🍥)部，為了貪圖富(fù(🎒) )貴娶了部落(luò )村(👔)長之女塔(tǎ )丹娜(🎆)。後來(lái )與塔丹娜之侍(🐸)女勾搭成姦，被村(🖼)長捉姦(jiān )在床，二(🚪)人(rén )將其殺害，驚(🍊)慌之下阿(ā )耀怕(🐑)事情敗露遂又意(💢)欲殺害侍女， 攜首(⏱)(shǒu )飾潛逃台灣(wā(🎟)n )。塔丹娜眼(yǎn )見父(🎳)親及侍(shì )女死於自己(😌)房內，丈夫卻無故(🗃)失蹤，於(yú )是請來(🌑)大法(fǎ )師為其指(⛱)引(yǐn )追兇，沒想到(📒)兇手竟是其夫，善(🌜)良的塔丹娜决定(🐩)要(yào )犧牲自己煉(🎰)(làn )最惡毒的小(xiǎo )鬼降(📻)為父報仇...摘抄自(🛳)《台灣影視報刊》
Jessica Simmonds returns from overseas to find her retired professor father in a bitter public fight to save the historic Sydney waterfront houses on Angel Street. After her father's mysterious death, she joins forces with local residents and a union leader against corrupt forces. Based on the real life mysterious disappearance of Juanita Nielsen.
北(🍳)陸の海沿(yán )いの(🍻)ある町(dīng )。実業家(🎵)で町の実力者で(🔲)もある旧家、宇(🦆)島家の主(zhǔ )人、(🔉)理一郎(láng )は、あ(🏕)る朝(cháo )、海辺でずぶ(💆)濡れになって倒(🔐)れている気憶を(🈁)失った女を助け(✅)た。このひとりの(🍶)不思議な女を迎(🆒)え、宇島家の人(🥤)々の心は様(yàng )々(🐮)に揺れる。一人娘の伊(🛎)代も少女らしい(👴)とまどいと興味(👇)を抱(bào )いた。女手(🐰)(shǒu )ひとつでこの(🔊)家を守ってきた(👐)祖母の図世は、(😟)息子の嫁を早く(📬)失ったこともあ(👩)り、女(nǚ )を家に置こ(🐳)うとする理一郎(✂)に異議を唱えず(🔉)彼女を看病する(💡)。理一郎は次(cì )第(⭐)に女に魅せられ(🚄)ていき、伊代は(💶)幼い頃の母の記(📷)(jì )憶に胸を痛(tòng )めな(🕙)がら、大人たち(🧛)の成り行きを見(🥞)守る。ある日(rì )、(🌐)理一郎の亡妻の(🎄)弟、伊代の叔父(🔞)(fù )にあたる征夫(🏒)が都会の生活を(🏤)捨てて、この町(🎆)に帰(guī )ってきた。征夫(🎬)は理一(yī )郎に仕(🕒)事の世話をして(🔭)もらっていたが(🛅)女を家にとじこ(🌇)める理(lǐ )一郎に(🏌)批判的で、やが(🤠)て二人は対立す(🛑)る。征夫は姉と理一郎(🐪)(láng )の結婚に深(shē(🤣)n )い傷痕を残して(🥗)いたのだ。だが、(🚵)征夫(fū )は家を守(🐡)る男の自信と尊(🧒)厳のある理一郎(📦)にかなうはずも(🤔)なく、思いを寄(🙊)(jì )せるさちこと別れ(🚘)、ひとり町を去(🎀)(qù )っていく。しば(🈁)らくして、女に(🍍)気億が蘇った。心(✨)(xīn )中したが、男(😳)だけ死に、自分(👯)は生き残ってし(🔞)まった。理一郎(láng )の望(🥉)み通り、この家(🦇)に留るには辛す(👙)ぎる気憶。だが、(🕤)理一郎(láng )の女に(🈲)対する感情は極(🏔)(jí )まっていた。謎(🌷)の女の出現で、(🍜)大人たちの未知(🕊)なる世界に直(zhí )面し(❕)た伊代(dài )は、幼(🌨)い体(tǐ )に宿る激(🦎)しい感受性ゆえ(✂)に、父や女に殺(✳)意も覚えるのだ(🏖)った。
一场家庭的(🕤)悲剧最终伤害的(🤠)还是子女。憨直的新(xī(🆗)n )界鸡场主人(rén )马(🖖)牛羊与独(dú )女妹(✉)头相依为命。妹头(⏸)的生母罗安妮用(🏉)(yòng )尽办法想夺(duó(🚶) )回妹头的抚(fǔ )养(🤭)权……
While waiting for Stella to conclude her performance in the opera house next door, Hoffman recounts his 3 tragic loves: Olympia the mechanical doll, Giulietta the courtesan, and Antonia the young consumptive.