抗日之特战兵王剧情介绍
Because he dishonored the daughter of a mafia boss, Ernesto must leave Rome and take shelter with his uncle in Paris. There, he thinks of only one thing: to seduce girls.
Tapasya - meaning penance is the story of Indu, eldest child of Prof Chandrakant Sinha takes on the responsibility of rearing her younger siblings, Vinod, Madhu and the youngest sister. Indu is the breadwinner of the family and acts as both father and mother to the children. The family doctor, young Sagar Verma who treated Chandrakant through his terminal illness falls in love with Indu, which is reciprocated. Being the only son of his widowed mother brings expectations Sagar's wife is expected to take on the responsibility of managing the affairs of their palatial home, giving up her siblings and her parental home. This is not possible for Indu, who is willing to sacrifice her own love and happiness at the altar of responsibility to her brother and sisters. It is only when the children are settled in their own homes that Indu can think for herself. Sagar in the meantime has handed over his clinic to a locum and left without any forwarding address or informing anyone of his return date. Now that Indu is free, where is Sagar? Has he also given up on Indu as her siblings have and left her alone in her twilight years? Does Indu have any happiness in store for her, or is her life a penance (Tapasya) at the altar of responsibility.
This is another story of the secret Coast to Coast auto race across America The only rule is, the first to finish is the winner. Naturally, anyone driving 55 isn't going to win. They'll need to drive a little faster than that. Well actually, they will need to drive a LOT faster that 55.
製(📻)作＝東(dōng )映(🥓)（京都撮影所）(🦅)
Lovely, but uptight young lass Sandy sheds her inhibitions and decides to happily indulge in group orgies in both San Francisco and Las Vegas after her doctor informs her that she only has a few weeks left to live.
サド・マゾ(🌩)小説の大家(🤾)(jiā )団(tuán )鬼六(🔙)の代表作の(📥)映画(huà )化(huà(🛃) )で、美しく雅や(🧞)かな生花の(😥)家元が、嗜(🍒)虐(nuè )の魔手(❎)にかかって(💉)、ＳＭの世(😪)界に(🛏)落ちこんで(🍄)いく姿を描(📘)く。脚(jiǎo )本(bě(🏎)n )は「女囚１(🎏)０１ 性(xì(⏪)ng )感地獄」の(💝)久保(🦖)田圭(guī )司(sī(📎) )、監督は「(📏)四年三(sān )組(🌏)(zǔ )のはた」(🌙)の藤井克彦(🚪)(yàn )、撮影は「濡(🍦)れた壷(hú )」(😀)の水野尾信(🏉)正がそれぞ(⏭)れ担当。
Pure geek Jon Pigeon works in a unusual sex analysis institute in which people run about the corridors nude, naughty aerobics are motivated and where no guy is safe from a crotch catching old tea lady. In order to entice office secretary Cheryl, Pigeon discovers a device aka Agnes which produces a 'sonic aphrodisiac' that can change any man or woman into an over-lustful love-making madman. While his efforts to zap Cheryl end in tragedy, Pigeon has some fun switching the 'sexy ray' on his intimidation boss Nutbrown and wash up campaigner Mary Watchtower. Filmed by director of Girls Come First movie
The Big Racket benefits immensely from a strong leading performance courtesy of Fabio Testi (star of What Have They Done to Solange). Testi's portrayal of the angry police officer is perfectly judged to fit the movie, and I don't think there is an actor who could be better suited to playing the lead in this movie. He heads a strong Italian cast, who all do well in bringing their characters to life, as well as providing the movie with the Italian style that it revels in. The script is really good, and finds time to flesh out its characters as well as deliver witty dialogue that is always a part of this movie's bigger budget American cousins. The plot builds well throughout as there's always enough going on to keep things interesting. It all boils down to a fabulous conclusion which serves in ensuring the movie gets the bloody end it deserves, as well as rounding off the story perfectly. The Big Racket features a great sleazy atmosphere, in which the story is able to flourish, and the catchy music score helps to make sure that the film is technically sound.
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.
While Philipe waits for Johan to come out of jail he starts recreating several moments of their relationship with the help of several friends during the summer of 1975.