荷尔蒙 泰剧

解放前(🤠)的(🎙)(de )上海(hǎi )，很(🏊)(hěn )多(duō )底层(📃)人寄居在(👑)闻家店，正可(🍗)谓三教(jiāo )九(🧥)流(liú )，鱼龙(🀄)混杂。落魄少(🌗)爷金不换靠(📒)妻(qī )子(zǐ )卖(mài )淫(yín )为(🎧)生(shē(💌)ng )；赖皮匠为妻子治病债台高(💏)筑(zhù(🎈) )；走(zǒu )方卖药的金老头讲义(🚒)气；(🍧)巡捕石敢当(👦)(dāng )呆(dāi )头(😃)(tóu )呆脑(nǎo )；(🌅)报贩牛三乐(🐗)天知命。而(🛑)(ér )开店(diàn )的(🤱)(de )老(lǎo )板闻太(🐰)师（石挥(🎃) 饰）则是八(⌚)面玲珑、(😠)阴(🤾)险(xiǎn )狡诈(💜)(zhà )。老板娘赛(🆚)观音水性(🎏)杨花(huā )，放(fà(👪)ng )浪(làng )不(bú )羁(🎡)(jī )。她先是(🌡)与小偷杨七(🈲)郎（张伐 饰(🕯)）私通(tōng )，不想后者竟(✝)然爱(💫)上了她那善良敦(dūn )厚(hòu )的(de )石(🤸)(shí )小(🤘)妹(mèi )（周璇 饰）。妒火中烧的(🗄)赛观(🥐)(guān )音，从此对(🚽)妹妹百般(🌦)欺负，并与姘(🐽)头小方(fāng )密(👆)(mì )谋(móu )毒(🍭)死(sǐ )闻太师(🐻)，卖掉石小妹(🕜)。而(ér )此时(🔺)(shí )，决(jué )定重(🧀)新做人的(😞)杨(⚾)七郎，正准(🕰)备和石小(xiǎ(🔵)o )妹私(sī )奔(🍨)，正撞见告发(📈)他与妻子私(🚡)通(tōng )的闻(🌮)(wén )太(tài )师(shī(🍷) )。两人扭打在(🍀)一起，闻太师毒发身亡(🎐)(wáng )。杨(🌋)(yáng )七郎成为嫌疑犯锒铛入狱(🚍)……(🔷) 供职(zhí )于(yú )科(kē )技(jì )公司(sī(❎) )KineTech的艾(➖)伦（大卫·(🤖)艾根伯格(😖) David Eigenberg 饰）潜心(xī(🍛)n )开发出超级(⚡)自动化机(👜)器人史宾（(🖌)Jae Head 配音(yīn )）。史(🖐)宾(bīn )能够(📃)清楚感知人(🍹)类情感，并(⤵)逐(🚁)(zhú )步(bù )形(🌤)(xíng )成自己的(🍲)人格。原指(🏛)望将其用作(🙎)和平(píng )用途(🌻)(tú )，谁(shuí )知(🎇)KineTech的老板内尔(🏅)斯·波特（(🤷)Kim Coates 饰）却(què )试(shì )图(tú )将(🚵)其打(📢)造成破坏力巨大的杀伤性武(🎍)(wǔ )器(🍥)。极力反对的艾伦遭到解雇，他(🙌)趁乱(📟)(luàn )销(xiāo )毁(huǐ(😚) )电(diàn )脑中(🈷)(zhōng )的设计资(🍠)料，并带着史(🌫)宾逃亡(wá(㊗)ng )。危(wēi )难之际(💳)，他命令史宾(💱)独自逃走(🌰)。不幸(xìng )中(zhō(📬)ng )弹(dàn )的史(👚)(shǐ(🙄) )宾意外结(🧖)识了热爱科(👑)技和(hé )小(🍌)发(fā )明(míng )的(🚘)(de )少年汉瑞（(🈴)鲍比·科(🖤)尔曼 Bobby Coleman 饰）。 野(📴)田(tián )伍郎(lá(💤)ng )（藤(téng )原龙也 饰）少(♏)年时(🛋)父母因(yīn )债台(tái )高(gāo )筑(zhù )双(🙂)(shuāng )双(🧣)自杀，自此伍郎生活陷于黑暗(✏)，辗转(🗄)(zhuǎn )于孤(gū )儿(🕠)院、少管(🔀)所、黑帮等(🍲)边缘地(dì )带(🌙)(dài )。回(huí )到(💺)日(rì )本后，他(🍋)与当年的好(🤰)友公介（(💠)塩谷(gǔ )瞬 饰(🥧)）、纯、(⏰)达(🏨)男合伙靠(🚴)婚姻欺诈为(👬)(wéi )生(shēng )。 Does committing a crime make you a criminal? Kidnap is a film that asks this question. Vikrant Raina takes one such decision in a moment of extreme rage when his 8 year old daughter is facing a life and death situation. He couldn't imagine how that one decision would affect 14 year old Kabir Sharma's life, he has then been labelled a 'criminal' . 莫(🤴)莉(lì )被指控(🕌)杀害丈夫加(📤)利医生(shē(🌫)ng )，而(ér )她(tā )却(🤧)(què )坚持自己(📎)在案发时暂时失忆，坚(🌇)决否(🚃)(fǒu )认了(le )指控(kòng )。她的律师和法(👺)院达(💬)成协(xié )议：莫(mò )莉(lì )承(chéng )认(🍸)有罪(🚿)，法庭从轻判(🌲)处她六年(🤙)监禁(jìn )。出(chū(📴) )狱那(nà )天，《观(🗨)察家》报的(💖)优秀记者(zhě(🔡) )弗(fú )兰(lán )前(👜)(qián )来采(cǎ(💬)i )访，这使莫莉(🎫)感到亲切(🐗)，毕(🌠)竟(jìng )弗兰(🐅)(lán )是她的中(🔛)学同学。在(🎇)采访中，弗兰(🎈)发(fā )现(xiàn )案(😛)(àn )子的(de )疑(🚧)点很多，莫莉(🥎)希望通过弗(🏬)兰(lán )的(de )调(diào )查揭露事(🥜)情真(🥣)相。她们很快发现有人(rén )企图(😰)(tú )阻(👮)挠(náo )弗兰的调查，她们的人身(✝)(shēn )安(🚷)全(quán )也(yě )受(🎍)(shòu )到(dào )了(🌉)威胁。然而这(🥄)些并没有阻(📹)止弗兰(lá(🥫)n )的调(diào )查，澄(🧟)清事实的信(👎)念支持着(🧓)弗兰。在(zài )调(🐨)(diào )查(chá )中(💌)，弗(🛤)兰对加利(🧢)的合伙人彼(🛏)得产生(shē(👂)ng )了好(hǎo )感，但(📸)是彼得破绽(🥢)百出的谎(🥠)言引起了(le )弗(⏮)(fú )兰(lán )的警(♟)(jǐng )觉。经过细致周密的(🐱)调查(🚶)，弗(fú )兰终(zhōng )于将视线转向了(🌞)莫莉(⏩)的挚友珍娜。莫(mò )莉根(gēn )本无(🎻)(wú )法(👏)想象，珍娜和加利本来(🕝)(lái )是真(zhēn )心(🔠)(xīn )相(xiàng )爱的(🦒)情人，是金(😩)钱使他们走(📽)进了不同(tó(🍹)ng )的婚(hūn )姻(😴)殿(diàn )堂，并渐(🏴)渐生出了(📚)仇(🛢)恨…… It is the year 1891 and a military doctor, Lieutenant Claude de Ross (Claudio Cassinelli) a survivor of not one, but two shipwrecks, washes ashore on a mysterious, uncharted Caribbean island along with a handful of convicts. When several of these convicts meet unfortunate ends at the hands of the titular fishmen, Claude and the other survivors flee into the jungle, only to encounter the sadistic Edmond Rackham (Richard Johnson) and his beautiful captive Amanda Marvin (Barbara Bach). 正(📸)(zhèng )是(shì )个(gè(👲) )人(rén )歪曲(🙉)的欲望，才创(👹)造了扭曲的(🕜)社会(huì )。 因(📒)(yīn )女儿夭亡(🐭)，伤心的杰克(🐕)（Reynaldo Rosales 饰）和(♏)斯蒂(dì )芬(fē(🐩)n )妮(nī )（Heidi Dippold 饰(shì )）夫妇决定前往另一(🏥)个城(🕥)市生(shēng )活。当他们行驶在阿拉(👞)巴马(👌)的荒漠中时，突然(rán )遭遇(yù )离奇车(👰)祸，在没有其(😜)他车(chē )辆(🐅)经(jīng )过(guò )和(🏸)(hé )手机信号(😆)覆盖的情(🥞)况下，夫妇俩(🥡)只能(néng )弃车(😾)(chē )步行(há(🐜)ng )前进。 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.