資深(🤰)大(dà(💎) )導演岳(yuè )楓(fēng )退休(🐨)(xiū )前(qiá(💠)n )最後(🔵)一部電影。九姑娘(舒佩佩 飾(🎶))之兄(🚣)巴(bā )杰(康華(huá ) 飾(shì ))勾結(jié(🤖) )惡(è(🎈) )虎(👁)村惡(🔁)霸胡蛟(王俠 飾)，圖劫(😗)鏢銀，被(🐰)「鐵(🔎)沙掌(zhǎng )」駱宏(hóng )勛(⭐)(xūn )(岳華(🚳) 飾)打(🦓)傷。胡蛟恐事發後被巴家追(🐧)究(jiū(👓) )，下毒(dú )將(jiāng )巴杰(jié )毒(dú )斃(🎎)，嫁禍(🎥)駱(🦃)宏勛，巴家上下誓欲殺死(🦗)駱(luò )報(🤩)仇…(🧡)…
Rome, 1850. In prison, two young men, Bernardino and Mammone, condemned for murder wait their own death penalty to be executed, and pass their last hours telling each other lust and castration stories (4 flash-blacks). The first story involves a duc and a clergyman castrating themselves, while the lusty duchess and a lusty countrygirl are left alone. The second story is about a Calabrese shepherd who leads his unfaithful wife to eat her lover's testicles, supposing they were from cattle. The third story deals with the castration of a priest by the young man after whom he was lusting. And the last story is about a different sort of menage-a-trois.
A beautiful young housewife, Nora, is trying to convince her tight-laced, bourgeois husband, Torvald, to give her some extra money for the holidays, even if he has to borrow it. Fassbinder's interpretation of "A dolls house".
金振(zhèn )奎(kuí )和白(🎫)日燮凭(🚩)借此(🚊)片双双获得第11届韩(🍨)国百想(👫)艺术(🐏)(shù )大赏电(diàn )影(yǐng )部门最(zuì(📇) )佳男(🕝)主角奖。
讲述英籍职业杀手(🔯)受聘暗(😻)(àn )杀(🗞)法国(guó )总(zǒng )统戴(dà(🎬)i )高(gāo )乐(🔄)，而法(🚖)国警方亦从蛛丝马(👊)迹中获(🔫)知了(🧞)(le )他的阴(yīn )谋(móu )，于(yú )是(shì )全(📞)力阻(🌴)止杀手的行动。
前松田组干(🚞)部岛(💟)(dǎ(🐳)o )谷良一(yī )（高倉(cāng )健(jià(✅)n ) 饰）在(🌅)人生(🎉)最巅峰时选择隐退(🍨)，从此不(💿)(bú )问(⛲)江湖(hú )恩(ēn )怨，偏(piān )居东京(❤)一隅(🔳)经营一家饭店，并和倾慕自(🚏)己的(📒)女(nǚ )记(jì )者仁(rén )木(mù )克子(🛥)（梶芽(🏖)衣子(📙) 饰）萌生了爱情。
Giulio Borsi (Marcello Mastroianni), a reactionary pharmaceuticals executive, has just set off for a weekend with his young mistress (Carole André(✝)) when the two are taken hostage at a gas station by three anarchists. Hunted by the police and transformed into media stars by the press, the trio escapes with their hostages to an isolated villa. For a brief moment, it seems as if class contradictions can be overcome, but then there is a showdown between the authorities and the far-left outlaws. Dino Risi’s darkest political satire was loosely based on a true story and anticipated the armed struggles between the Brigate Rosse and state power. It is also a clairvoyant account of the increasingly sensationalist and bloodthirsty media. At times, it almost seems like a model for the Gladbeck hostage crisis of 1988.