简介(🍚)：
1976年7月，盛夏时(🍳)节。露天晚会曲(🏐)(qǔ )终(🥂)人散(sàn )，人(🔵)们(men )纷(♒)(fēn )纷回(huí(🔣) )到(dà(🍅)o )各自(zì )家(jiā )里(💘)，强忍暑热，慢慢(⌛)入睡。突然，蓝光(🤷)闪烁、大地轰(💋)鸣，一场数年(niá(🍁)n )不遇的(de )特大地(🔍)(dì )震(zhèn )发生(shē(🎡)ng )了(le )，整(zhěng )个城市(📔)(shì )被夷为平地(🔅)。邢惠明（赵联(🎊) 饰）从废墟里(😃)艰难的爬出，绝(🛋)望地(⚓)(dì )呼唤着(🚱)(zhe )亲人(🤵)的(de )名(míng )字(🛏)。庄(🌱)(zhuāng )静娴(xián )（贺(🌮)朔(shuò )华 饰）如(🍤)约赶赴约会的(📥)桥头，泪眼中已(🖕)是桥(🐹)断路陷，哪(🚲)(nǎ )里(🐺)还有(yǒu )未(🐖)婚夫(😥)(fū )小(xiǎo )孟（丁(🅿)(dīng )嘉元(yuán ) 饰(shì(♟) )）的(de )影子。绝望(🚸)过后，人们开始(💡)自救互救，共度(🍊)难关。市委书记(🏐)唐(táng )晖（张(zhā(🐚)ng )伐 饰）和(hé )幸(⬜)存(cún )的(de )党员(yuá(😜)n )干部积(jī )极投(♊)入抗震救灾工(🤼)作，他委托邢惠(🍸)明把(🙅)抚养孤儿(🤳)的重(🎌)担挑起来(🦊)(lá(🏇)i )。党中(zhōng )央(yāng )派(🍹)人(rén )民(mín )解放(👊)(fàng )军(jun1 )赶赴(fù )震(🌗)区救(jiù )灾，郭强(🦓)（宦(😖)荣 饰）、(🉐)郭晓(👚)（杨阳 饰）被(📎)子弟兵救出，他(🔭)们的(de )父亲则(zé(🍛) )在(zài )救助(zhù )他(💐)(tā )人时(shí )不幸(🤰)牺(xī )牲。不久，一(👖)座崭新的育红(🔞)学校成立了......
1. Siberian Khatru
“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.
第(dì )二次世(🏜)(shì )界大戦(zhàn )下(👪)(xià )、オランダ(🅾)のアムステル(📂)ダム(🥡)にある隠(⏯)れ家で、ナチス(😲)から逃れ身を(💈)潜めて精一(yī(✝) )杯に生(shēng )きよ(💐)うとしたユダ(🤓)ヤ人(😨)の少女ア(♑)ンネ(🆑)・フランクと(⛏)、その家族の(⛱)軌跡。アンネ・(🕌)フランクの生(🔕)誕(dàn )50周(zhōu )年を(🈹)記(jì )念し、世(🧥)界(jiè )的なベス(👮)トセラー「ア(👗)ンネの日記」(😢)を元に制作さ(🏗)れたアニメー(🧖)ション。アンネ(🍯)の実(shí )父オッ(⛽)トー(♓)への取材(⌛)を(👠)行い、現存す(🏈)るナチスの収(🐻)容所の映像や(🏮)オランダの景(👹)観(guān )などの実(🥁)(shí )写(🍂)映(yìng )像(xià(🎗)ng )もふ(🎰)んだんに盛り(🏭)込まれている(🏨)。
香港联合录音(🎷)制片的神话片(🈹)佳作(zuò )，导演(yǎ(🎨)n )徐天荣(róng )，本片(🥇)(piàn )特(tè )技非(fē(🧢)i )常出色(sè )，是荣(🕒)美特技小组的(📘)杰作，片中一只(🛑)巨型猩猩，造型(📠)比美“金(jīn )刚”，大(⛳)闹石(shí )猴(hóu )村(🙀)一(yī(😀) )场(chǎng )戏搞(✝)(gǎ(🌱)o )的天昏(hūn )地暗(🕜)，天翻地覆。