城市之光

大(😌)村組の若頭だが(🍻)組長に疎んじ(🏇)られ、危(wēi )険(xiǎ(⛰)n )な(🅾)仕事(shì )はかり回(🚯)さ(🚘)れるやくざ、(🍽)田(🚟)中。組のために8年も刑(xíng )務(wù )所(🈶)暮(🦆)らしをしてきた(🚗)と(🌝)いうのに、組(📼)長(✅)の大村は彼に新(🐨)しい組を作(zuò(🏣) )れと命令(lìng )し、上(🖍)(shà(⏹)ng )納(nà )金だけ絞(📝)り(🎿)取(qǔ )って、跡目(⤵)は若い倉内に(🏟)継がせようとする(🏀)。そんな折(shé )り大(🕗)村(🌓)(cūn )は倒れ、言葉(🚷)もろくに喋れ(🏈)ない状態に。敵対(⛲)す(👨)る大(dà )川組も本(💜)(bě(😌)n )家を挑(tiāo )発す(🏑)る(🦕)。田中は情婦の一人、亜弓のマ(🏬)ン(🤟)ションで舎(shè )弟(🐴)の(🈵)杉(shān )本と一(yī(🛢) )計(📩)(jì )を案じ、倉内(🌐)と大村を見返(🕞)そうとする。シャブ(🍣)も(✖)ルートを守る(🈴)の(🌏)を口実に抗争の(🖨)応援を断った(🥇)直後、組を裏切ろ(⏺)うとした若い梶(🐴)田(🤭)をわざと自(zì )分(✉)を刺(cì )すよう(🚊)にけしかけ、相(😷)手(🎯)の鉄砲玉にやら(😣)れ(🐭)たことにする(🆎)。抗(🔫)(kàng )争の中(zhōng )心から巧みに逃れ(🗜)、(👎)独自にシャブの(😏)ル(🛏)ートも開発し(😽)稼(🤣)ぎを大(dà )きくし(😺)ていく。一方で(👑)は飲み屋のツケの(🕷)取(🔅)り立てなどセ(🤔)コ(🚏)い仕事(shì )も続け(🥔)る。レストラン(🥃)で働いていた洋子(👞)は、もう一人(ré(〰)n )の(😿)情婦(fù )、芳江(jiā(🏬)ng )に預けシャブ(😤)漬(zì )けにさせた(🕘)。や(🍃)がて自分の役に(👗)立(👕)つ女になるだ(💬)ろ(❗)うと。洋子(zǐ )の男が田中を狙い(🎯)、(🧣)刺す。そのナイフ(🌠)を(🍤)腹に受けなが(🍍)ら(💨)も男を殴(ōu )り蹴(✨)り半(bàn )殺(shā )し(👀)の目に合わせる。棒(🚸)っ(👚)きれのように(➗)生(🍬)(shēng )まれ棒っきれ(😤)のようにくた(🍧)ばる人生。だが今、(🖼)田中には運があ(🔣)る(👯)。大村が死(sǐ )に、(💺)壮(zhuàng )大(dà )な葬(📼)式(shì )が行われた(🦀)日(🛷)。田中の乗るベン(🚟)ツ(🚃)を運転してい(🌰)る(🍾)のは昨夜(yè )、田中を刺した男(🎭)だ(👣)。田中がくわえた(👪)た(📻)ばこの火を倉(➖)内(🍝)がつける。田中は(💐)煙(yān )をくゆら(📘)せ、かすかに笑う(🎮)。... Set in 1950s Tunisia, the film is about a 25-year-old woman, Alia, who returns to her place of birth—(✍)a prince's palace in which her mother, Khedija, worked as a house servant and mistress. Alia had fled the palace ten years earlier, at which time she spent burying tortured memories of her childhood. In her visit to pay respects for the death of the prince, Alia wanders through the largely abandoned palace where she is confronted by these memories represented as detailed flashbacks of her childhood. She begins to piece together a narrative about her mother's sexuality and sexual exploitation in a space ordered by gender and class difference, and is re-awakened to her persistent questioning about her father's identity. As Alia negotiates her past, she also deals with her current relationship to her lover, Lotfi, who has asked her to have what seems to be yet another abortion. Her development throughout the film contrasts her awakening to a past of sexual and social servitude which many of the female servants experienced in the palace against her own contested independence fraught with pain, conflict and uncertainty. 音乐教师大江(⛵)（(🥄)冯(féng )巩(gǒng ) 饰）中(💢)(zhōng )年失意(yì )，在(🏎)与妻(🛰)(qī )子离婚(hūn )后(💜)，他索性下海随好(🥃)友(🛀)双成（牛振华 饰(💜)）远赴(fù )俄罗(🗯)斯(sī )做(zuò )起服装(zhuā(🐱)ng )生意。与老实诚恳(🚨)的(💐)大江不同，双成(🎳)为(♓)人浪荡狡猾(huá )，所卖商(shāng )品以次(💒)充(✳)(chōng )好，坑(kēng )蒙拐骗(📴)无(🔄)所不能。 在马其(👱)顿(📒)，战争中的波斯(sī(🖋) )尼(ní )亚，东(dōng )正(🔶)教的(de )一(yī )位年轻(qī(🈵)ng )修(😗)士以沉默保护(🥓)一(👩)位年轻女孩，这位(🌖)阿尔巴(bā )尼(ní(🚁) )亚女(🚻)孩(hái )涉嫌杀(shā(❤) )害(hài )一位东(dōng )正(🥏)教(💔)徒(tú )。但其实只是(〽)误会。修士以自(👹)己的善良决定与(yǔ(🕣) )女孩私(sī )奔(bēn )。 一(🛢)对(🏖)(duì )夫妇收(shōu )养(🏙)了(🍶)孤儿杰罗姆，但发现他隐藏了一(📒)个(⏱)秘密(mì ) 年(nián )轻俏(🏵)丽(😬)(lì )的席邓兰(lá(🥄)n )小(🛑)姐才(cái )华过人，经(⬅)营有方，通过铁(👇)碗手段将父亲纳(nà(🚈) )拉(📪)(lā )亚恩原(yuán )本(🌈)经(🌋)营(yíng )不(bú )善、濒(📢)(bīn )临倒闭的一(😋)家公(🛵)司一跃变成为(📎)国内首屈一指(zhǐ(➕) )的(🌿)(de )实业公(gōng )司，优(yō(🔼)u )越(yuè )的社会(huì(🗾) )地位使(shǐ )她独断专(🕥)行，骄奢蛮横，令人(🌀)憎(😍)恶。继承父业(yè )的(⏳)她对(duì )待(dài )企业员(yuán )工专横(hé(🚔)ng )霸(✒)道，是典型的“武则(🔖)天(🕋)类型“的女强人(🆓)，也(🤝)(yě )是极端(duān )的女权主(zhǔ )义者。不(🚲)仅仅是员工对她敬(🥑)畏(🐜)有加，连身生父(🌺)母(🐟)都(dōu )对(duì )这个娇(🖖)(jiāo )生惯养(yǎng )的(🥇)(de )女儿又(yòu )爱又怕。尤(🏇)其是对正值谈婚(🧚)论(🕊)嫁年龄的女儿(é(⛹)r )的(de )婚事头(tóu )疼(🏿)不已(yǐ )，而她本(běn )人(🔑)却不(bú )屑一顾。 Il dio Giove esiste ancora e si innamora della Statua della Libertà(🏿), che ritiene essere una sua antica fiamma scomparsa negli oceani.