走到尽头 豆瓣 第15集

【故事(🥗)简(🐝)介(🌬)】(🈚) Film follows a young couple who are parasites on the lives of others. The film makers largely leave out explanations. Viewers find themselves in the middle of a thriller-like story without knowing the background of the two, and is also left with questions at the end. In the meantime, a strange life becomes visible. The couple lives in a small camp in the woods, with a tent, sleeping bags and empty wine bottles. Isolated, but also unprotected. The girl visits a lonely old lady, for money. The boy also goes to see a married couple whose son died, for a fee. Both think they aren't doing anything wrong, but their work is not without risks. 昭(zhāo )和(hé )３６(🧒)年、東京・谷(🛶)中(🚊)の蓮正寺の境内(nè(💎)i )から女性(xìng )の(🌗)白骨化した頭蓋(🐝)骨(🏄)が(🥌)発見された。警(🗿)(jǐng )察は現場の(🏑)状(🦂)況や発見者の僧・(🎭)日(rì )兆(zhào )の証(🚮)(zhèng )言から、酒場経営(🎑)者・礼次郎の(👲)妻(qī )・繁子の(🍳)遺(⏲)体(🛃)と推測する。捜査(👤)に協(xié )力(lì )す(🏇)る(🍦)事(shì )になった金田(🦓)一は、繁子の(⛲)身辺(fǎn )調(diào )査(☕)(chá(🎁) )で(✝)解(😑)った礼次郎の(🕉)愛人に驚く。金(🌟)(jī(🔙)n )田(tián )一(yī )の手(shǒu )品(🍄)の師匠である(🤼)女性マジシャン・紅(🚼)(hóng )マヤだった(📖)のだ。しかしマ(👶)ヤ(🈴)は礼次(cì )郎(láng )との(🍐)関係は既に終(🌻)わっていると話し、(🥝)事(shì )件との関(🏻)りを否定する(🤳)。さ(🚉)ら(🏷)なる捜(sōu )査(chá )の(📉)結(jié )果、頭蓋(🚊)骨(🕹)は繁子とは別人と(😆)判(pàn )明(míng )、そ(😆)して繁子に２１(🌪)年(🍶)前(🔕)の養父殺しの(🕒)犯(fàn )人(rén )・松(🐧)田(🍢)花子であるという(👐)疑惑が浮(fú )か(🎁)び上がる。事件は、過(🔀)去の養父殺し(⬜)の罪(zuì )から逃(🧖)(tá(🌱)o )れるため、花子で(🥨)ある繁子が自(🔑)(zì )分(fèn )自身(shēn )を死ん(🥈)だと見せかけ(🔱)る替え玉殺(shā(🚼) )人(🕵)(ré(🚨)n )の可能(néng )性が出(♒)てくる。そんな(📉)時(🅰)、礼次(cì )郎(láng )、そ(👿)して繁子と深(🐄)い関係にあった(🎀)と(🅿)思(🔸)(sī )われる日兆(👳)が他殺体で発(🏺)見(🍌)される。花(huā )子(zǐ )に(🤩)関する調査に(🖲)乗り出した金田一は(🐿)、実(shí )父と同(🛄)じ奇術師の道(🕥)を(🥁)目指していた花(huā(🏩) )子(zǐ )の実(shí )像(📬)がマヤに近い事に気(🐨)づき、困(kùn )惑(🤳)(huò )する。 13岁男孩(🖍)帕(🎰)布(😰)罗的父亲去世了(🕘)，在(zài )村(cūn )庄外(🦅)(wà(⌛)i )的路上，他遇到了一(🥢)个奇特的陌(mò(😦) )生(shēng )人帕(pà )科，帕(🛫)科(🚓)的(🔽)车坏了。帕布罗(🌱)一开(kāi )始(shǐ )对(🌨)(duì(👎) )帕科(kē )有戒备，但在(🌬)感觉帕科很能(🏫)理解(jiě )自(zì )己(jǐ )后，帕(🎤)布罗逐渐地将(🚗)帕科视为父亲(🍰)(qī(😔)n )一(yī )样(yàng )。然(rán )而，帕(😜)科来到这个偏(🎰)僻的小村却(què )有(yǒu )着(🍢)(zhe )不为人知的目(🍻)的…… Rita Wilson meets epidemiologist Chris Claybourne and they fall in love with each other. When Claybourne leaves for the tropics to find a cure against a disease, Wilson gets her revenge by marrying Claybourne's brother although she still loves him. 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.