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哪咤（傅声）生于(yú )三千(qiān )多年(nián )前的商朝，父亲李靖（卢(😯)迪(dí )），是(shì )当时的总兵官，镇守陈塘关(guān )。在(zài )纣王(wáng )的统(tǒng )治下(xià )，人民饱受压迫，哪咤总(🚵)是(shì )抱打(dǎ )不(bú )平而闯祸，因(👠)此令其父增添(tiān )不少(shǎo )麻烦(fán )。父(fù )子最(zuì )终水火不容，为救(🖨)全家哪咤(zhà )不惜(xī )削骨(gǔ )还(🖼)父削肉还母。然而，哪咤却(què )为一(yī )位神(shén )仙太乙真人（李允中）以莲花令(lìng )其复(fù )活，并(🐄)赐(cì )给他两件宝物，去解救受苦(kǔ )的(de )百姓(xìng )。 After her young son accidentally drowns, a woman has a breakdown and is finally placed in a mental hospital. After her release, her husband takes her for a weekend at a secluded country mansion, hoping to help her recover. However, things at the mansion aren't quite what they seem to be, the couple begin to feel an uneasy and oppressive presence, and the mother starts to see things that may, or may not, be hallucinations. 有料駐車場に勤める政行(háng )と修(xiū )の二(èr )人(🥀)が、新(xīn )宿の雑踏の中で幸(🧛)枝とその友人(rén )ミキ子の二人の少女と交わした会(huì )話か(🆑)ら、政行(háng )と幸枝の間に愛(🍲)が芽生えた。その夜(yè )、二人は、政行のアパートで何気(qì )ない一夜を過した。電車の轟(🏷)音に耐(nài )えきれず政行(háng )は幡ケ谷へ引っ越した。そんなある日、政行は幸枝と再会し(😳)、彼(bǐ )女は政行(háng )のアパー(🎲)トに移って来た。数日(rì )後、二(èr )人が外出から帰ってみる(🍔)と、部(bù )屋に小太(tài )りの中(🤹)年男が寝そべっていた。男は保険(xiǎn )屋だといい、腹痛を理由に居(jū )候をきめこんだ。奇(🎽)妙な三人の同居生活(huó )が始(shǐ )った。政(zhèng )行は駐車場をやめ、修とコンビでトラックの(😣)長距離輸送を始(shǐ )めた。そん(🐽)なある日、政行が仕事から戻ってみると、幸枝と中年男(🎢)は床を並べて眠(mián )っていた(🔉)。「火葬場が近く一人で寝るのがこわくて……」そんな幸枝をいとおしく思いながら(🏓)も、二人の間に冷たい風(fēng )が吹(chuī )き抜(bá )けた。二人は修の住む、新宿のアパートへ移(💚)った。そして、ここで幸(xìng )枝(🧙)が妊娠(shēn )していることを知った。「おろせよ」政行は冷た(⛺)く突き放した。幸枝(zhī )にとっ(🏟)ては身(shēn )の切られるほど切ない夫の言葉(yè )だった。家賃の問題、赤ん坊のこと、二人(🚈)(rén )はむしゃくしゃを振切るべく調(diào )布に引っ越した。幸枝は妊娠九ヵ月だった。やがて(🛅)、男の子が生まれ、とやか(👰)く言(yán )った政行(háng )も親馬鹿振りを発揮し、二(èr )人は幸(xì(🆕)ng )福だった。しかし、管理人(ré(⭕)n )のクニ子(zǐ )は、いつもこの夫婦を好奇な眼で見(jiàn )ていた。そして、幸枝と赤ん坊に対(😯)して露(lù )骨な悪意のこもったイタズラをするのだった。さらに幸枝の最愛の田舎のお(🎒)ばあちゃんが死んだ、とい(❎)う知らせにより幸枝(zhī )の心(xīn )が乱れたため、気分転換の(🕸)ために、また引っ起すこと(🔉)にした。今(jīn )度は下町(dīng )の葛(gě )飾区で格安の家を見つけた。隣(lín )のおばさん文子はとて(💱)も親切にしてくれた。実は政行たちの家は、昔一家(jiā )心中(zhōng )があり、長く空き家にな(😙)っていたのだった。首を吊っ(😬)た鴨居、血の海(hǎi )の畳(dié )。政(zhèng )行は恐怖(bù )に堪えながら、(🚪)幸枝には知(zhī )らせなかった(🔔)。しかし、数日後、幸枝(zhī )が分(fèn )不相(xiàng )応なダブルベットを買ったことから、政行は(👧)幸枝も心中の事を知っているんだろうと思った。かつて血で汚れた畳(dié )の上(shàng )では寝(📹)れなかったのだ。その日、隣(🐣)の主人敬造が鳥の羽を剥いでいた。その羽(yǔ )が幸(xìng )枝の鳥(📭)アレルギーを刺激し、その(🛤)夜から幸枝の挙動が一変し、突(tū )如政(zhèng )行を殴りつけたりした。翌日、幸枝(zhī )は米(mǐ(🌪) )屋の店員をビールビンで殴って大(dà )怪我(wǒ )をさせ、彼女は目を異様に光らせて、ト(🌍)リの股に食いついていた…(😀)…。幸枝は精神(shén )病院の鉄の扉の中へ保護された。数(shù )日後(🏉)(hòu )、政(zhèng )行は引っ越しをし(📎)た。今度(dù )は赤ん坊と二人きりで……。 加拿(ná )大小(xiǎo )姐（Carole Laure 饰）在贞(zhēn )操带基金会主办的(👔)世界小姐(jiě )大赛(sài )中胜出，得以同基金会主席身价五(wǔ )百亿(yì )美元(yuán )的富(fù )翁儿子成婚(🤞)，新婚当晚，加(jiā )拿大(dà )小姐(jiě(➗) )惊见对方的阳具闪耀着金属的色泽(zé )。与(yǔ )此同时，一艘名为(⛩)幸存者的(de )船在(zài )河面(miàn )摇曳(⬜)(yè )，一(yī )位英俊水手被美艳的船长安(ān )娜（Anna Prucnal 饰(shì )）吸引，沿河岸追逐；加拿(ná )大小(xiǎo )姐欲(🥙)(yù )终止(zhǐ )婚姻(yīn )，反被富翁的母亲交给一名(míng )健硕(shuò )黑人处理，黑人把加拿大小姐邮寄(jì(🎶) )到了(le )埃菲(fēi )尔铁(tiě )塔下。在那(🎿)里，加拿大小姐(jiě )遇到(dào )了一(yī )位西班牙歌手，两人发生了关(🛅)系之(zhī )后却(què )一时无法分离(🧀)；水手终于登(dēng )上了(le )安娜(nà )的船(chuán )，安(ān )娜称他为波坦金号的难民，船上有(yǒu )数不清的糖(✈)，安娜与水手纵(zòng )情享(xiǎng )受，又引(yǐn )诱了(le )一些儿童上船；加拿大小姐(jiě )被一(yī )群嬉皮士收(👂)留，他们疯狂的行为令(lìng )加拿(👶)(ná )大小(xiǎo )姐失(shī )魂；最终安娜杀死了水手，被警(jǐng )察带(dài )走(😌)。加拿大小姐则拍摄了一则色(🛸)情(qíng )巧克(kè )力广告。 Tom Newcliffe, a rich businessman and expert hunter summons six guests to his huge country estate which he has rigged up with video cameras and a high-tech security system. He tells them and his surprised wife that they are all to stay over a weekend and that all of them will be kept on the estate during that weekend. For each guest, dead bodies have followed in their wake and the way that the dead have been murdered means that one of the guest is a werewolf and Tom has summoned his guests here to discover who it is and to hunt it down... The film has a clip at the beginning asking people in the audience to try to identify the werewolf and near the end there is a 30-second "Werewolf Break" for the audience to think over the evidence... Giulio Borsi (Marcello Mastroianni), a reactionary pharmaceuticals executive, has just set off for a weekend with his young mistress (Carole André) when the two are taken hostage at a gas station by three anarchists. Hunted by the police and transformed into media stars by the press, the trio escapes with their hostages to an isolated villa. For a brief moment, it seems as if class contradictions can be overcome, but then there is a showdown between the authorities and the far-left outlaws. Dino Risi’s darkest political satire was loosely based on a true story and anticipated the armed struggles between the Brigate Rosse and state power. It is also a clairvoyant account of the increasingly sensationalist and bloodthirsty media. At times, it almost seems like a model for the Gladbeck hostage crisis of 1988. Archana, an educated daughter of retired principal loves Professor Sukhesh. This love born out of intellectual impact is supported by the fond hopes of her father that leads to matrimonial alliance. Archana's mother is of a different class with materialistic notions of life and she too unwillingly gives her consent to the marriage. Seeds of marital love have not yet flowered into sweet joys of wedlock when whims and ego's of Archana and Sukhesh start clashing. Though a dutiful loving wife of a sweet husband, Archana is very much the daughter of her mother, who with all good intentions intervenes in the day to day life of the couple. Understanding leads to misunderstandings and the lovers start misinterpreting each other's sentiments. This ultimately leads to break in marriage - hence the ultimate- eventual separation. Kora Kagaz answers the struggle of intellectual lovers who find it difficult to enjoy marital bliss. The film is a lesson in both love and marriage. Dark, decadent, morbid, passionate - and 34 years later still the strangest memory regarding my very own personal history of watching movies since I was five years old. Despite the fact that this French/Italian production from the early seventies delivers incredibly strong performances by Helmut Berger at the peak of his career, the always excellent Francoise Fabian and the fabulous Paul Meurisse, that it shows you wonderfully filmed locations, and comes up with a solid script including a couple of interesting though perverted characters, the movie itself disappeared totally out of sight. Maybe you need to know Europe or even European or Italian movies to get along with it - I'm not sure about that. But I cannot understand why „Les Voraces" (German title „Die Gefraessigen") fell into a black hole of total obscurity like hardly any other movie I've ever watched before and since. A group of kids in Brooklyn form a gang. From this moment on they do everything together. This makes things easier but at the same time they have to face new problems.