包青天之白玉堂传奇剧情介绍
Phillip and Dieter nearly suffocate hiding their sexual identity in the face of puritanical small town values. Joined by a mysterious German relative, the three misfits escape to the big city searching for a place to belong.
Lily and Max have been married for more than 50 years. Now they live together in a nursing home, where Max has been reliant on professional care since his stroke. Lily has been putting her own needs aside and is desperately longing for excitement and intimacy in her life. When a man known as "the Pilot" moves in next door, Lily is immediately charmed by him and his passion for life. But neither her family nor the other residents at the nursing home are fond of her new acquaintance. Misunderstood by her family and trapped in her life with Max, Lily decides to fight to escape the bars of her invisible prison and claim her freedom.
短短半年(🎳)时间(jiān )，濑(là(🎅)i )户(hù )内海的小岛便漂来了(le )6具无(wú )名(míng )男尸，这一系(🦈)列神秘(🈶)事(shì(⏮) )件引(yǐ(📰)n )发人(⛪)们的广(🏖)泛猜(🈴)测，小(xiǎ(💖)o )岛更(🔮)(gèng )被冠(😳)以“死尸岛”这(🌑)一(yī )可怕(pà(🏯) )名(míng )字。英俊(🍂)帅气且拥有天(tiān )才头(tóu )脑的科学家兼私家侦探(tàn )御手(shǒu )洗洁(🥁)（玉木(🎊)宏 饰(💷)）从编(🆎)(biān )辑(🏛)小(xiǎo )川(💢)(chuān )美(🍪)雪（广(🏑)濑爱丽丝 饰(➰)）口(kǒu )中(zhō(🈂)ng )听到了死尸(👧)岛的传说，由(😗)此(cǐ )勾起了他无限的好奇心(xīn )，当(dāng )即(jí )启程飞赴(🦐)濑户内海。
一(😑)个(gè )男(🙌)(nán )人(🔵)（冢本(🗣)晋也(🤬) 饰）从(🐢)昏(hū(😊)n )迷中(zhō(🥤)ng )醒来，突然发(🔚)现自己置(zhì(🥫) )身于(yú )一间(🗂)昏暗类似迷宫的房(fáng )间（地(dì )下室）里，关于自己的(de )一切(qiē )完(🏮)全没有(💪)头绪(💲)，记忆尽(👈)(jìn )失(✂)。是幻觉(🎷)，还是(🍡)恶梦？(🛍)然(rán )而腹(fù(💈) )部(bù )的伤口(🤞)却分明清晰(⛳)和疼(téng )痛着(📜)(zhe )。他尝试在逼仄的空间(jiān )里移(yí )动身体，小心翼翼寻(🥕)找(zhǎo )出口(kǒ(🚬)u )，其间更(🛁)是目(⏺)睹了地(🚗)狱(yù(🚍) )般的(de )分(👔)(fèn )尸(🛤)场景。
1996年(🌻)的OVA版(4话)
Gloriously self-aggrandizing moviemaker Tom Palazzolo made an awesome feature debut with Caligari’s Cure. If you know your Cabinet of Dr. Caligari, you’(💖)ll remember that the orgasm of the 1919 German movie revealed that the ostensive villain had been really a psychiatrist, and the moderate hero a certified looney. Palazzolo uses generous chunks of Caligari, evaluating the expressionistic opposites of the previous film’s director Robert Wiene with contemporary artistic developments. It’s a fairly obvious stylistic workout, but it’s simply because entertaining as Palazzolo’s hallucinatory quick topics. Caligari’(🐔)s Cure would make a felicitous double feature with the 1988 shorts set Palazzolo’s Chicago.