上海疯狂传奇

由布(bù )莱恩·(🐿)德·帕尔(ě(🥁)r )马（Brian De Palma）指导(🎒)， 保(bǎo )罗·施(🕓)拉德（Paul Schrader）编(🥑)剧(jù )的《迷情(🚚)记(jì )》（Obsession / 1976）是(🚂)一部文(wén )艺气(qì(🌓) )息相当浓厚(✌)(hòu )的悬(xuán )疑(🔪)片。帕尔(ěr )马(🔺)导(dǎo )演一反(🉑)常态(🚖)(tài )，并(bìng )没有(🤗)在(zài )影片(pià(🛶)n )中过(guò )分卖(🎸)弄血腥(xīng )暴(💲)力(lì )，而是以(🔤)细(xì )腻的(de )手(💩)法把一个(gè(🙄) )奇异(📩)的故事拍得(📶)(dé )如梦如幻(🙇)，韵味(wèi )十足(🤵)。 《继母劳拉》是(😞)一部由Andrea Bianchi导演，Carroll Baker、Adolfo Celi主(🏍)(zhǔ )演，片长1小(🆘)时28分(fèn )钟的(🔰)剧情片。 一(yī(🍊) )九五九年夏(🗜)天，西藏萨尔(✋)吉草原(yuán )发(🎏)生了严重的虫(chó(🎬)ng )灾，广大贫下(⛳)中(zhōng )牧在(zà(🧡)i )党的领导下(🥠)(xià )，开(kāi )展了(😉)紧张(🛸)的(de )灭蝗(huáng )战(😓)斗，逃亡(wáng )头(🎲)人(rén )旺金和(🤪)(hé )漏网(wǎng )牧(🔵)主(zhǔ )仁青乘(🍇)机进(jìn )行破(🏸)(pò )坏，他们利(🌙)(lì )用(😢)部(bù )分群众(🔀)对“佛爷”的迷(🍙)信，散布蛊惑(💵)人心的(de )谣言(🏌)；谣言破产后，又(🚆)妄图用定时(🤓)炸弹炸(zhà )毁(📽)分机。少先队(🎾)(duì )员华尔丹(🍜)和小伙(huǒ )伴(🥎)们发现仁青(😨)形(xíng )迹可疑，无畏(💦)地(dì )跟踪追(🤢)击。经过(guò )一(🐊)场(chǎng )惊心动(💶)魄的(de )战斗(dò(🍫)u )，他们(📯)终于(yú )排除(🔎)(chú )了定时炸(⛳)弹(dàn )，粉(fěn )碎(🆕)了阶级敌(dí(🛰) )人的(de )罪恶阴(🚁)谋。 一九(jiǔ )五(🥇)九年夏天(tiā(🏈)n )，西(xī(🚄) )藏萨尔吉草(🐊)(cǎo )原发(fā )生(🤱)了严重的(de )虫(🦅)灾，广大贫下(🙄)(xià )中牧在党的领(📖)导(dǎo )下，开展(🍠)了紧张的灭(🥇)蝗战斗，逃亡(🍽)头人旺(wàng )金(⛷)和漏网牧主(👮)仁(rén )青乘机(🗡)进行破坏(huài )，他们(🚋)利用部分(fè(🦆)n )群众对“佛爷(🍀)”的迷信，散布(🔡)蛊(gǔ )惑人(ré(💒)n )心的(🚌)谣言；谣言(🏺)(yán )破产后，又(🐘)(yòu )妄图(tú )用(🏄)定时炸弹(dà(🖐)n )炸毁(huǐ )分机(🛢)。少先(xiān )队员(🎷)(yuán )华尔丹和(♑)小(xiǎ(🎓)o )伙伴(bàn )们发(🙀)现仁青(qīng )形(🐂)迹(jì )可疑，无(🎣)畏(wèi )地跟(gē(✨)n )踪追击。经(jīng )过一(🍧)场惊心动魄(🍙)(pò )的战斗，他(✔)们终(zhōng )于排(🏛)除了定时炸(🍥)弹，粉碎了阶(👰)级敌人的罪(🍦)(zuì )恶阴谋。 Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society. 影片(🏎)(piàn )讲述德川(🙉)时期发(fā )生(🐏)的两个残酷(🚴)故(gù )事： 萧(🧔)依云（林(lín )凤娇(🏌) 饰）自幼生(👄)(shēng )活在(zài )父(🔽)母的疼爱(à(🥒)i )之中(zhōng )，长大(💴)之后(hòu )又嫁(🛢)(jià )给了深爱(🎃)的(de )男人(rén )高浩天(🐫)（秦(qín )汉 饰(✌)(shì )），生活十(🃏)(shí )分幸(xìng )福(💒)美满。在(zài )做家(jiā(🛄) )教的过程中(🍫)(zhōng )，萧(xiāo )依云(🐻)结识了(le )名为(💔)(wéi )俞碧菡的(🚹)女(nǚ )孩。俞碧(🍼)菡的人(rén )生(🥁)和萧依云截然相(🤤)反，过着寄人(✴)篱下的日(rì(🐷) )子，常年遭受(🥖)继(jì )母的虐(👙)待。