人世间完整版

身(💩)无(wú(🦌) )分文(🥫)(wé(🐐)n )的(de )歌(🦂)手(shǒu )山姆发现自己染上爱滋病(🥠)后(🍉)，终(zhō(🌲)ng )日(rì(👨) )借酒(jiǔ )消愁，但很快就疯狂地恋爱了(le )。在(🧢)(zà(🥄)i )前(qiá(🎉)n )东德(🔕)(dé )的破旧环境里，他要为千禧年(nián )、为(🌩)(wéi )染上(🈂)爱滋(🍜)病的年轻患者建立一个“家庭(tíng )”。他(tā )这(🌿)个组建(🚜)的“家(📉)庭”包括前任(rèn )男友(yǒu )Rainer，他的密友Bastl和(🔒)他的(😶)性伙(💍)伴(🤟)Mike。这些(🥗)形(xíng )形色(sè )色(sè )的“同志”带出一个(💞)充满(🥞)怀旧(🐗)东(🧘)欧(ō(👛)u )色彩(cǎi )，甜蜜(mì )而催人泪下的悲(🕡)剧(🚺)故事(💀)。 一群(🍬)(qún )盗(dào )贼(zéi )为了(le )寻找传说中的宝藏而(🤟)去(🌹)到远(🌫)海(hǎ(♈)i )的孤(gū )岛(dǎo )监狱(yù )，但他们却发现了被(📦)囚禁在(🚭)那(nà(🙎) )里的(de )Hakaider，最后全被Hakaider杀死。失去记忆的Hakaider为(🌒)了(le )追(🔆)寻(xún )身(🥚)(shēn )世(📪)而(ér )来到了“基督城”，基督城虽(suī )然(🔺)表(biǎ(🚜)o )面(mià(👽)n )上(🕜)是一(❔)个和平的都市，但其实内(nèi )里统(tǒ(📆)ng )治(zhì(🗾) )者古(✳)(gǔ(🎾) )谢夫(🏝)将有反抗意识的人改造为(wéi )不(🏝)反(🤴)(fǎn )抗(🥓)(kàng )者(⛪)，营造出一片虚假的和平。其后(hòu )Hakaider在(zài )与(💙)(yǔ(👝) )基督(🚂)(dū )城(📡)的重武装兵交战时，当地的(de )反抗(kàng )组(zǔ(😜) )织出(chū(🍺) )手相(😷)助，战斗后Hakaider与组织成员一(yī )同返(fǎ(📁)n )回地(☔)下基地(✏)。在基(👑)地内，Hakaider与一名叫(jiào )薰的(de )少(shǎo )女产(chǎ(🥜)n )生了(🔨)微妙(🐄)的(😶)关系(🥎)…… A broken heart, a battle axe, a demon and a lesbian ex-fiancée... Jason Parks' life goes from bad to worse as a series of supernatural events turn his dream of reconciliation with ex-fiancée Jasmine into a portal seeking, demon hunting nightmare... 学校(xiào )组织(zhī )参(cān )观科(🕔)技馆(🐀)，老师(😊)给(🎨)同学(🦆)们布置一(yī )篇作(zuò )文(wén )，让(ràng )同(🌂)学(🤣)们写(📐)一写(🍷)参观科技馆的见(jiàn )闻和(hé )感(gǎn )受。奇奇(🌞)同(🏵)学的(🚕)爸妈(🤚)这些天出差不(bú )在(zài )家(jiā )，奇(qí )奇由叔(🐿)叔负责(🙉)照顾(🕳)。看到奇奇(qí )在写(xiě )参(cān )观科(kē )技(💯)馆的(😳)见闻，叔(🦁)叔说(🎫)自己手头(tóu )刚好(hǎo )有一个航天探(🔐)险的(🃏)项目(🚵)，缠(🍟)着要(🔈)跟(gēn )奇奇(qí )探(tàn )讨探(tàn )讨。其实，奇(🔍)奇的(👖)叔叔(🧙)就(🔮)是一(😶)(yī )个混(hún )混(hún )，除了泡网吧玩游(🌏)戏(👭)，什么(😺)也不(🚲)(bú )会。 Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema. 千(qiān )百亿(yì )年来，太阳从不间断地(🖇)散(🔡)发光(🔧)(guāng )与(🤴)热(rè )，只只(zhī )施与，不求回报，成为一代又(📬)一(yī )代(📲)(dài )人(🐾)类(lèi )对灵性渴求的至高象征。曾几(➕)(jǐ )何(🅾)时(shí )，地(🏁)球(qiú(🍺) )作为金星人新的生存之所，在(zài )至(🖕)高(gā(🚣)o )无上(⛑)的(🔼)十位(🐚)大灵的指导下，蹒跚前(qián )行，寻(xún )找(🏾)着(zhe )幸(👓)福的(🔀)根(📅)本。然(😉)而在这一过程(chéng )中，以(yǐ )最初的(📠)大(☔)灵撒(🚄)旦为(🤺)代表，沉湎物(wù )质与(yǔ )肉(ròu )欲的(de )享乐，凭(🦁)空(🐜)创造(👣)出低(🦁)级灵生存(cún )的地(dì )狱(yù )，促(cù )使越来越(🦒)多背弃(👙)灵性(🧢)追求的众生(shēng )在(zài )无始(shǐ )劫来的(📪)轮回(🙈)中饱经(🌊)磨难(🍆)，不得(dé )解脱(tuō )。漫长(zhǎng )的历史长河(👊)中，穆(⏫)大陆(🎁)、(🍪)亚特(🚣)(tè )兰蒂(dì )斯等(děng )史前文明相继诞(📑)生，在(⏹)拉穆(🏕)、(👃)托斯(🙋)(sī )等(děng )圣人(rén )的引导下，人们一(🦁)度(🎪)窥见(😼)幸福(😠)(fú )的门(mén )庭(tíng )，却最终遗忘先哲的教言(🦎)，随同(tó(🌼)ng )大陆(😏)(lù )一(yī )同灭(miè )亡。只不过，作为导师的佛(🍹)陀(tuó )从(🌅)未(wè(🧦)i )忘(wàng )却迷悟的弟子，依旧不辞辛苦(🥎)一次(🏊)次(cì )回(🤡)(huí )来(🙈)将(jiāng )他们引向觉悟的彼岸…… Just released ex- convict Guido watches his girlfriend get killed on the way home from prison. He thinks the killing is connected with the events that led to him going to jail five years back. Guido starts to investigate...In many ways a typical late DiLeo- crime film: unimaginative lightning, boring sets, unimpressive action sequences. Yet I think just because of the grittiness of the script, this one easily rises above the other DiLeo- turkeys I've seen. Decent acting in the form of especially Barbara Bouchet and Guido's main adversary Martin Balsam, who stand out positively. Most importantly, the plot really thickens towards the end climaxing in a truly memorable final scene between Guido and Martin Balsam's Rizzo.