老婆大人第一部

影片(🏿)主(zhǔ )人(🍝)公是(👡)一位(wèi )年轻(🌪)的记者，他在(🦈)(zài )谷仓中躲(🗞)避(bì(🔢) )黑夜，受(⛔)到一(🚍)欺骗(piàn )他的(🚀)丑陋老妇用(🍒)扫(sǎo )帚的攻击。他设法用基督教传(chuán )统方式灭之(💋)(zhī )，但(🔸)她一下(🖥)却(què(👙) )变成(chéng )了漂(🈵)亮的女(nǚ )人(🍍)，显然这个(gè(📡) )女人(rén )被女(🥞)巫(wū(🐕) )所占(zhà(🚵)n )有了(🤧)。而当女(nǚ )人(📻)最终死去(qù )，女(nǚ )人的父亲吩咐(fù )他夜夜为其(qí(🏀) )祷告(gào )，直到(⌚)下葬(🌳)之(zhī )日(🐝)。夜间(👾)女(nǚ )人复活(👐)，不过以女(nǚ(🐍) )巫的形式，并(🕉)努力(🎐)想得到(⛅)受魔(👇)(mó )法圈保护(🌋)的(de )他。殊(shū )死(🚂)拼搏的最(zuì )后一夜，女巫唤来(lái )了夜行怪物(wù )助(🐜)她一(🚷)臂之力(😠)……(👄) Marian Martin (Crawford) is a factory girl living with her mother in a grimy railroad town. Factory boy Al Manning hopes to marry her, but Marian is determined to find a better life. When a train makes a stop in town, Marian looks through the windows and sees the wealthy passengers. She then makes the acquaintance of Wally Stuart, a New Yorker who gives her champagne and writes down his address, telling her to look him up if she ever makes it to New York. Marian, now tipsy from the champagne, happily returns home. Giggling, she tells Al and her mother that she was drinking down by the railroad tracks. 昭和35年，广(guǎ(📑)ng )岛最大暴力(🍸)团(tuán )村冈(gā(🐀)ng )组组长（名(🏂)(míng )和(🛁)宏 饰）(🏒)称病(🛄)(bìng )住院(yuàn )，其(🌙)下(xià )最有(yǒu )实力继任者杉(shān )原文雄（铃(líng )木康(😄)(kāng )弘 饰）光(🔞)天化(🖨)(huà )日之(🔽)下被(🏦)人(rén )射杀(shā(🎾) )，该事件成为(🍳)(wéi )广岛战争(🐺)之(zhī(🦖) )导火索(📺)。 由考(🔑)古学(xué )家发(🤯)现了一(yī )个(⛪)神秘的失落世界(jiè )，可是却在(zài )告知(🌡)好(hǎo )友钱教(🕰)授之(🦉)(zhī )后就(🌼)一病(🏫)不起，去(qù )世(🔆)前他托好(hǎ(💕)o )友钱教授替(🏰)他完成(chéng )发(🔀)现恐(🕺)龙的(de )遗(🦀)志。然(🎦)而这(zhè )个失(🧝)(shī )落的世界早(zǎo )就受到了诅咒(zhòu )，守(shǒu )护这里(lǐ(🐊) )的尼(ní )安泰(🎛)塔人(😹)根本(bě(🍉)n )不让(🍖)外人踏(tà )足(🍳)这(zhè )里一步(🈂)，于是(shì )他们(🍑)开始(🍿)了(le )生存(🔇)(cún )之(🥉)战…… 《角(jiǎ(❤)o )斗》 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. 在他的女儿Ema的葬(zàng )礼之后，Frank Osorio第(dì )一次(👰)旅行到布宜(🧠)诺(nuò(🚁) )斯艾丽(💨)斯去(🚀)(qù )告诉他(tā(😘) )的外孙女Alina，有(🆎)关母亲的死(😉)讯。不过Frank怀揣(🍤)有(yǒ(🎠)u )两个大秘密(🥜)：第一(yī )个(🎆)是关于Alina父(fù )亲的身份，而(ér )第2个(gè )与犯罪有关(guā(🍝)n )。 一对中年夫(🐗)(fū )妻(🍎)从(cóng )美国坐(🍢)(zuò )飞机(jī )回(🤚)到曼谷，清(qī(🎇)ng )晨他们住进(🔔)(jìn )一(🍫)家(jiā )宾(👰)馆。妻(🕳)子（拉莉塔(🍰)•潘(pān )尤帕(🎙)(pà )斯饰）脸上写(xiě )满疲惫想要(yào )好(🍈)好休息，丈夫(🥫)（波(🤮)乌•萨(🌟)拉(lā(📿) )辛饰）下楼(📜)买烟，碰见留(👜)着爆(bào )炸头(🚘)的(de )可爱女孩(🕣)Ploy（阿(🏷)平亚•萨库(🔓)加罗(luó )恩苏(🔗)饰），她在等她妈妈。一(yī )番闲聊，他(tā )做出一个惊(🤔)人(rén )决定(dì(🔛)ng )，决定(🔋)带这(zhè )名女(😖)孩去房间(jiā(🐜)n )休息(xī )，因为(📶)(wéi )她还(hái )要(➰)等上(🐻)好几个(🎅)(gè )小(😞)时。先前(qián )对(🎤)丈(zhàng )夫起了(🐻)疑心的(de )妻子，对女(nǚ )孩的出现大有怨(🤧)言(yán )，最终一(🆑)番(fā(😖)n )争执，妻(💤)子离(🍟)开，在酒吧遇(👱)上(shàng )了仰慕(👖)者。在他们(men )房(🥈)间的另一边(🐙)，一(yī(🍠) )对神秘古怪(🍌)(guài )的男女在(🦔)偷欢，一(yī )方是宾馆服(fú )务员，一方是酒吧(ba )招待生(🍌)，他(tā )们不需(🆎)要任(🤮)何(hé )言语(yǔ(🍭) )地享受着对(🏔)(duì )方的身体(🕺)。它(tā )似乎(hū(🏑) )是Ploy的(🐨)梦(mèng )，又(🥥)(yòu )似(🚆)乎是真实发(🌘)(fā )生…… 正是(shì )个人(rén )歪曲的欲望，才创造了扭(👦)(niǔ )曲的社会(🔕)。