ある日DM発送会(huì )社(shè )に勤める林徹(🚼)(chè )の(🖤)マンシ(🐐)ョンに女の子が引っ越してき(🌭)た。彼女(Ⓜ)は加(🆗)藤(téng )留(📆)(liú )美というフリーのスタイリ(㊙)ストだ(💰)が、(🕑)本当(🌌)は(🤵)ルビイという名の快盗(dào )だっ(🚜)た。徹は(🍨)さっ(👫)そく(🦒)相(👽)棒として犯(fàn )罪を手伝わされ(📀)る。ま(✋)ず(🕑)は巧(🏒)妙(miào )な手口で食料品(pǐn )屋の親父から(🔷)売上(😣)げ(💉)金を(😵)盗んだが、中味は大金とは程(chéng )遠(yuǎ(🚒)n )くて(🐻)経費を(🥉)差(chà )し引くと赤字だった。頭の(🌲)切れる(〽)ルビ(✳)イと頼(🏫)りない徹(chè )だったか、二(èr )人(🤽)(rén )は次(🐤)に銀(📱)行襲(🌘)撃(🏍)を計(jì )画した。しかし、これも(🌯)徹が脅(🔂)迫(pò(👸) )の手(🚒)紙(🦄)と買物(wù )メモを間違えて失敗(➿)(bài )。ル(⬇)ビ(💾)イは(👮)凝(níng )りずに宝石店詐欺を試(shì )るが、(🎸)あっ(🈳)さ(🧦)り店(🍺)主に見抜かれてしまう。犯罪(zuì )計(jì )画(♿)を楽(🕚)しむよ(🌟)うな二(èr )人は豪華マンション(〽)に忍び(💦)込む(🍽)が、管(👁)理が厳しくて脱出するのに精(🥕)(jīng )一(yī(🛂) )杯で(🐢)物を(🎁)盗(🔧)(dào )むどころではなかった。徹は(🚻)ルビイ(🕕)が好(😽)きだが(👓)、彼女には恋人がいた。ルビイ(📚)が喧(🛅)嘩(⏰)した(💱)恋(liàn )人に宛てた手(shǒu )紙を取り戻して(🤷)ほし(🍔)い(🦀)とい(🥄)う。徹(chè )は気やすく引き受けるが、運(✖)悪く(👟)警(jǐng )察(🌃)に捕まってしまう。気のいい刑(🚭)(xíng )事の(🔓)計ら(🌁)いで徹(🍋)はすぐに釈放されたが、ルビ(⌚)イはそ(🧜)んな(🥚)自分(🧝)の(💚)ワガママを聞き入れてくれた(🚬)彼を暖(🕤)かく(🍱)迎えた(🐕)。そして今度(dù )は徹のほうが、(🌙)新し(👪)い(🖱)犯罪(🏟)計画をルビイに持ちかけるのだった(🚎)。
伦(lú(🐂)n )敦(🚍)(dūn )巴(🏦)拉德街区的(de )一群小混混莫斯（(💶)John Boyega 饰(shì )）(🐚)、丹(📁)尼斯（(🌆)Franz Drameh 饰(shì )）和卡文等人在夜(yè )色(sè(🤐) )中打劫(🎋)了女(🉐)(nǚ )护(hù(🐾) )士萨姆（茱蒂•惠特(tè )克 Jodie Whittaker 饰）(🐥)，正在(zà(🐋)i )他们(🍝)作案(🍩)时(🤘)，一不明(míng )生物从天而降(jiàng )，将莫(🧟)斯咬伤(🔽)，萨姆(🙅)(mǔ )趁(chè(😽)n )机逃脱。愤怒(nù )的莫斯将这只非(🎡)猿非(🏩)(fē(💔)i )犬的(🦔)小生物杀(shā )死(sǐ )，带着尸体拜访种(zhǒng )植(👉)(zhí )大(🚩)麻(😂)的朗(🛺)与(yǔ )高(gāo )帽等人，在得知该(gāi )生(🦍)(shēng )物可(🗂)能是(🤸)外星(xī(😸)ng )来客后，莫斯萌生了(le )赚钱的念头(🥪)，但(dàn )在(🕴)他们(🍟)出门后(♓)形势(shì )急(jí )转直下，先(xiān )是(shì )天(🚄)空降下(🐜)大批(🔐)体型(🍌)庞(⚫)(páng )大的同类生物(wù )，而后莫斯又(🤼)被萨姆(💏)(mǔ )带(🌖)来的警(😫)察逮(dǎi )捕(bǔ )，一番混乱中，莫(mò )斯(🐩)(sī )与(🍜)同(👳)伴逃(🌆)出，因为半路冲撞了高帽(mào )的车子不得(✉)不(bú(🥦) )躲(🥖)在萨(😫)姆家中，以此(cǐ )避(bì )开外星怪兽(🐩)(shòu )、高(🔲)帽和(🙉)警方的(🐗)追踪(zōng )。莫斯率领众伙(huǒ )伴试图(🐳)保卫街(🔫)区但(🛸)只(zhī )能(✋)在怪兽的追(zhuī )逐(zhú )下亡命奔逃(🏃)，而且(qiě(🤑) )更(gè(👃)ng )糟糕(😱)的(🧟)是，这(zhè )些怪兽的主要目标似(sì(♋) )乎是杀(🚑)死了(📂)小(xiǎo )怪兽的莫斯……
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.
After an accident Lilly grows up alone with her father and his friend in a town in Germany and without a mother. When she first discovers sexuality she went pregnant. Her father is going to jail after killing the suspected boyfriend, his friend travels with Lilly to the Netherlands. But because he himself had an affair with Lilly the father went after them...
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.
根据(jù )鲁迅同名(🍭)小说(💠)(shuō(🐄) )改(gǎ(💇)i )编。