故事(shì )的(de )主(🤯)人(rén )公(gōng )是一(yī )位(❓)(wè(🐿)i )高中(zhōng )女孩，在加入(🦕)了(🎏)一个激进的(📠)女权(📅)俱乐部后，她开(🙄)始(🌖)逐渐找到了自己的(🖨)人(🥊)(rén )生目(mù )标(biāo )…(💩)…
法(fǎ )国电(dià(🈚)n )影(➿)(yǐng )先驱(qū ),影史最(🆗)伟(🎪)大的导演之一雷蒙(😲)德·伯纳德代(🌅)表(🔴)作！影片以第一次(⛑)世(🐢)界大(dà )战(zhàn )为背(bè(❌)i )景(jǐng )，讲(jiǎng )述(shù(💌) )一个(gè )法(fǎ )国军(jun1 )人(🐌)经(🖥)历了战争之后的醒(🕖)悟。作为一部1932年(🏷)的影片，它既没有带(🈹)上(🎴)过多的(de )默(mò )片手(shǒ(🖐)u )法(⛸)(fǎ )，也(yě )避(bì(🥇) )免了(le )有声片(piàn )初期(🆔)的(🕗)一些通病，是一部相(✏)对(📆)成熟的有声(😽)电影(💑)。
才华横溢的地(🚣)下(🎓)(xià )导演(yǎn )Dan Ireland用(yòng )敏锐(⛸)(ruì )细(xì )腻的(de )笔(bǐ )触(🔃)拍(pāi )摄了这部(🤫)温(👫)馨的家庭电影。Joan Plowright饰(🍱)演(🔱)Palfrey女士。她举止优雅, 丈(💂)夫去世后搬到(🧦)伦(lún )敦(dūn )居住(zhù )。这(🦏)样(🐰)(yàng )女(nǚ )儿的(de )负(fù )担(👴)也(yě )轻些。 当她(🐽)抵达Claremont酒店， 发觉酒店(🚟)远(🚮)没有广告介绍里那(🗣)么(🥩)漂亮，Plowright女士于(🌑)(yú )是(shì )轻叹(tàn )一(yī(😡) )句(🐍)噢(ō )，天呀(ya )，失望(wàng )情(🦇)绪(📒)藏于她一贯(⏲)的风(😽)度之间。她不得(🔢)不(🧜)和那些旅店里的怪(🧔)客住在(zài )一起(qǐ )。她(🌕)的(de )生(shēng )活变(bià(📼)n )得(🐸)(dé )越来(lái )越糟，直(🅰)到(💙)她遇上了朝气蓬勃(🥤)的年轻作家Ludovic。那(😰)时Plowright女士才意识到家(😥)庭(🚓)关(guān )系(xì )是可(kě )以(🥕)(yǐ )有选(xuǎn )择(zé(📿) )的。
5个大学(xué )生为了(🤜)处(🤷)理宿舍里顽皮小女(🌊)孩(➗)的鬼魂，他们(🚗)意外地把杀死小女(⏹)孩(🤘)(hái )的杀(shā )手(shǒu )征召(👐)(zhà(🐘)o )回(huí )来。
伊(yī(🐅) )丽莎(📦)(shā )白·莱(lái )恩(➡)是(🃏)《聪明家政》杂志大名(👔)鼎鼎的饮食专栏作(🍨)家，在专栏中把(🐯)自(💭)(zì )己描(miáo )述(shù )为(🛰)勤(🚏)(qín )劳(láo )的已(yǐ )婚(hū(👤)n )农妇(fù )，对烹饪(⚡)、打理农场和照看(😃)孩(🕞)子颇有心得。然而事(😩)实上她却是个(💏)未婚(hūn )纽(niǔ )约人(ré(😣)n )，不(🏽)会(huì )做(zuò )饭，住在单(🌄)(dān )身公寓里。专(🌽)栏里关于饮食的内(🚝)容(🥋)都是由她的好友，大(🔀)厨(🎗)子菲利(lì )克(💡)斯(sī(🛡) )提(tí )供的(de )。海军(🏌)(jun1 )医(👌)(yī )院一(yī )位护士(shì(🕞) )写信给杂志的老板(🌭)亚德利，希望他(🏂)能(🤜)安排一位刚下战(🥁)场(💖)的军人到(dào )伊丽(lì(👭) )莎(shā )白在(zài )康(🤾)(kāng )涅迪(dí )格(gé )州的(🎯)(de )农(🔽)场过圣诞节，伊丽莎(🤬)白的谎言因此(🎢)也要穿帮了......
陈子原(🗼)武(🕹)艺低微，贪(tān )生(shēng )怕(💮)死(sǐ )，好色(sè )贪(🎪)(tān )财，与传统(tǒng )那些(🗄)武(🖌)功高强，仗义英勇的(🌧)武(⛱)侠英雄全然(🎞)不同(🔘)。但他却洞悉各(💚)个(😬)(gè )武林(lín )高(gāo )手的(🔉)(de )弱(ruò )点，临(lín )敌之(zhī(⛽) )时巧施妙计，轻(🗺)而(📌)易举便将对方打(🌏)得(🏝)一败涂地，误打误撞(😓)就登上了武林(🥢)(lín )盟主(zhǔ )的(de )宝座(zuò(🚊) )。若(💑)论(lùn )机(jī )灵诡(guǐ )计(📛)，福星高照，恐怕(🚢)只有金庸笔下的韦(🏀)小(🈳)宝可以媲美。
Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’(🎌)s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran.