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导演：杨工(gōng )良(liáng ) 在这1957年科幻(👓)片中，一(🎽)个男(👌)(nán )子(🍐)突然(⛴)迅速缩(suō )小。格(gé )兰(lán )特·威廉姆斯饰(🆒)演(yǎn )这(🐺)名不(📽)幸受(🔹)害者(🔶)，因(yīn )为遭到(dào )辐射而一周减一寸，他(tā(🥕) )能找到(🕌)恢复(🎞)身高(🕞)的(de )疗(🐏)法吗(ma )？ 幸平は田舎から上(shàng )京(jīng )して(⛲)き(🥂)た。新(🐿)宿駅(⤵)(yì )の(♓)広場(chǎng )で、無一文の空っ腹(fù )をかか(🧘)え、ぼ(📩)んや(📸)り立(⛵)(lì )っ(🙈)ていると、不良(liáng )たちに脅された。前(🏻)から彼(😝)(bǐ )ら(♒)が目(🍜)をつ(👂)けていた郊外の一軒だけ離れて建っ(🐤)ている(🍇)小住(🛵)宅、(🐜)佐藤(🕌)(téng )家に強盗にはいるのに誘... In the 1950s Neo-realism style was given a boost, in part by what was happening in Italy. The films of Rossellini, Antonioni and De Sica made a powerful impression on Brazil's nascent film community. A series of pivotal pictures were made in the 1950s that responded to the wake-up call of the new Italian masters. Needle in a Haystack (1953) by Alex Viany, The Road (1957) by Oswaldo Sampaio and The Great Moment (1958) by Roberto Santos are a few of the better titles. The energy of these films was felt far north of Rio in the state of Bahia, where several pictures were made. (History of Brazilian Cinema) 五(wǔ )位空(🙅)难幸存(🤘)者在(🍸)深林(🕵)(lín )中(zhōng )遭遇猎人霍金斯，后者想(xiǎng )将五人卖(🍘)给(🐽)邪恶(📢)的部(🦁)(bù )落(🚻)(luò )首领作为祭祀只用(yòng )，泰山(shān )阻止了(🌛)他们的(💥)(de )罪恶(🗞)手(shǒ(🔖)u )段(duà(🥖)n )。 清末民初。村女(nǚ )徐红焦因战乱与未婚(🐽)(hūn )夫张(✔)文(wé(🌹)n )郎失(🗼)散，卖(⏰)身为妓，易(yì )名红妹。张则到故(gù )府当工(👋)(gōng )人。一(🗒)天，胡(🌡)(hú )家(🥍)少爷(🌜)(yé )遗(yí )张送绸子给爱妓红(hóng )妹，红、张(😲)嘉得重(🛬)逢(fé(🔙)ng )。红装(🦌)(zhuāng )病(bìng )不再接客，鸨母便(biàn )以(yǐ )高价将(😂)红卖(♓)给(🌌)胡。胡(😰)知情(📪)(qíng )敌(📒)是张…