阿(ā(🗑) )贵无(🌍)意间得(dé(🐶) )到了(💿)(le )一把神奇的(⛔)槌子，只要一槌自(zì )己，就会(♍)变得(💛)非(fēi )常聪(cōng )明。阿贵藉着这(😁)把槌(💵)子，到处(🛸)(chù )恶作(zuò )剧，陷害同(📈)(tóng )学老(lǎo )师(🔤)及春(🔧)水镇民。不(⛽)仅如(😥)此(cǐ )，春(chūn )水(🐭)镇(zhèn )也是怪事(🚖)连(liá(🐘)n )连。附近(📯)的黑(🤓)(hēi )森林竟然惊传出(chū )现怪(🍄)(guài )兽(📈)，也常常在夜(yè )间听到森林(🍹)里(lǐ )传出可(👠)怕的叫声(shēng )。一(🐄)(yī )天(🔓)，阿贵和妈妈(🙅)(mā )发(📯)生了严重(🐢)的(de )争(🏆)执(zhí )，伤心的(⛓)阿(ā )贵无(wú )意间跑到黑森(🗯)林，并(🏳)且发现了(le )不法(fǎ )组织的人(💕)正(zhè(😻)ng )在进(jì(❎)n )行不法勾当。阿贵急(🥃)着想(xiǎng )回镇(🎋)(zhèn )上(🐌)通(tōng )知大(🥓)家，没(🌀)(méi )想到(dào )却(💫)被坏人追杀，正(👜)当千(🙀)钧(jun1 )一发(🍇)(fā )之(🐝)际(jì )一个神秘客(kè )出手救(💻)了阿(😌)贵(guì )。但是他们却没(méi )想到(💒)(dào )，邪(xié )恶的(🕰)势力正(zhèng )一步(🎬)一步(🕗)的逼(bī )近他(🤘)们…(😨)
透过摄(shè(🚐) )像机(😭)(jī )偶尔晃动(🕋)的画面(miàn )里是(🚝)Étienne无法言(yá(💢)n )语的(📳)(de )懵懵情愫，对好(hǎo )友Ludo，对自己(🔋)的地(🚟)理老师(🥇)，对花(huā )样滑(huá )冰的(✈)队友。很朦(mé(🚚)ng )胧却(🔭)时时刻刻(🛠)的萦(🌊)绕在心(xīn )头(🦌)。不敢(gǎn )用自己(😶)的双(🏂)(shuāng )眼直(🌖)(zhí )接(🌚)去面对，只能用镜头去(qù )捕(🏞)捉(zhuō(🕣) )那些(xiē )人，那些表(biǎo )情，那些(👖)感情(qíng )...
名古(👥)屋郊外に暮(mù(😰) )らす(🥎)4人家(jiā )族に(🔇)、夫(🐢)の母・政(🐡)子（(🔙)吉(jí )行和子(🐦)）が同居(jū )す(🚆)ることにな(🚋)った(👑)。一家の主婦・巴（原田美(🐁)枝子(♒)(zǐ )）は(👞)義母とうまくやっ(⏮)ていこうと(🔱)張り切るが、(🐄)同(tó(👩)ng )居してまも(😬)なく政子が変(🏬)調を(🛄)きたす(⬜)。ゴミ(🦏)集積所(suǒ )の場所が分から(🧚)なく(📝)なったり、巴(bā )の作(zuò )っ(📸)た弁当を床(😤)にぶちまけた(🍬)りす(🆎)る政子に周(🚀)囲(tō(♌)ng )は戸惑い(🍬)、苛(💅)立(lì )ち、や(📦)がて家(jiā )族の(🌓)雰囲気は険(🎅)(xiǎn )悪(✡)になる。思いあまった巴が(⏫)いや(🤮)がる政子を無理(lǐ )矢理(lǐ(♏) )病院に連れ(🚇)てゆくと、ア(🦑)ルツ(🔸)ハイマー型(🐓)痴呆(dāi )症と診(🧤)断さ(🔪)れる……
约(🥢)翰是一(yī )位成(chéng )功的(de )艺术(🎼)家，他(🐬)(tā )的作品是超现实的、具(🚖)有象征(zhēng )意(♎)义(yì )的。一天晚上，他(⤵)回到妻子罗(🎴)(luó )莎(🌰)家，在酒吧(🔨)里(lǐ(👽) )遇到(dào )了一(😗)个女人(Fata Morgana)。两(liǎng )人(🈺)过去认识，她(🕋)要求(🙇)与他会面(miàn )。我(wǒ )们在倒叙(🎆)中看(🔕)到约翰和那个女(nǚ )人的(de )历(🗼)史——20年(niá(👭)n )前，在约翰获得(🚲)成功(💢)之前，他们曾(🚰)(céng )有过(guò )一段(🍒)施虐(😓)受(shòu )虐关(guā(⛳)n )系。事实上，这个女人是(shì )约(🚗)翰(hà(🌾)n )现在(zài )生活的关键(jiàn )。我们(🏉)看到那个女(🐰)人让约翰在(zài )性折(👬)(shé )磨最(zuì )严(😄)重的(🗻)时候(hòu )许(⏱)下诺(😌)言。交(jiāo )易是(🥙)，为了换取(qǔ )一(🍐)个(gè )成功的(⏸)生活(🦖)，他(tā )将把他未出生(shēng )的女(🐩)(nǚ )儿(🍝)交给那个(gè )女人(rén )。约翰现(🆕)在已经成年(🌬)的女儿露(lù )西(🐌)对(duì(🏌) )父亲的交易(🔐)(yì )并不(bú )知情(😈)。约翰(🗒)的妻子罗莎(🚜)很害怕(pà )这个(gè )女人现在(❌)来(lá(🏰)i )接她(tā )的女儿，约翰今天不(🦓)得不(bú )和这(🛡)(zhè )个女(nǚ )人对质，不(👯)(bú )管他喜不(🏨)喜欢(😟)。
As the Franco era moves further and further into history, a number of provocative works dealing with that period from a great variety of viewpoints have begun to emerge. A remarkable portrait of Barcelona from 1945 to 1955, Carles Balagué's LA CASITA BLANCA effectively explodes the myth of a docile, rigidly controlled postwar Spain. The film details everything from the impressive rise of prostitution to support for the urban "maqui" resistance movement; events such as the visit to Barcelona by Eva Duarte Peron, the massive Eucharistic Congress and the frenzy over Olympic champion Juan Antonio Samaranch are examined in telling and even surrealistic detail. As entertaining as it is revealing, LA CASITA BLANCA shows a level of popular resistance to the regime that while it rarely came into full view, nevertheless formed a persistent backdrop to everyday life in the 50s.
四位三(🍋)十多(🌭)(duō )歲中(zhōng )年(💮)朋(péng )友已經相(🅱)識(shí )了二十(🚺)年，他(🛴)(tā )們決定放下一切(qiē )包袱(⛅)(fú )、(🔼)家庭及責任。相約舊時曾經(💞)(jīng )追求(qiú )的(🤰)女朋友們(men )，由(yó(📆)u )家鄉(🕸) Correggio 出發去 Rimini 重溫(👤)在一九八零年(🐥)(nián )共(🤕)同(tóng )渡過的(🌯)一個(gè )週末(mò )。由於大家都(🏕)已是(🌋)成年人，所(suǒ )以這(zhè )次約會(🚖)牽引(yǐn )出一(🚐)(yī )大堆出乎意外，感(🦏)情上的(de )舊火(🖼)(huǒ )重(😗)燃(rán )，痛苦(❔)的懺(💎)(chàn )悔、互相(✔)指責口角。雖然(⤵)這次(cì )相會(🙆)(huì )使(💲)其(qí )中一人損失(shī )了生命(🔨)，但其(🧀)(qí )他所有渡過這次(cì )經驗(🏴)(yàn )的人得到(🏬)了反思(sī )與成(⌚)熟的(🔧)機會(huì )。
After the death of her husband, Lilia's life revolves solely around her teenage daughter, Salma. Whilst looking for Salma late one night, Lilia stumbles upon a belly dance cabaret and though initially reserved and taken aback by the culture of the place, Lilia gets consistently drawn back to it. She befriends one of the belly dancers and is encouraged into dancing for the audience. Lilia also starts a romance with one of the cabaret's musicians, who unbeknown to both of them, is also romancing Salma.