咱爸咱妈60年

“Jon Jost’s Chameleon was probably the happiest instance of a mixed marriage at the Festival (Edinburgh 1979): combining a freak, trippy (in fact almost Corman-esque) saga of a dope-dealer and all-round hustler with an abstract distillation of patterns of color and light. The place of the latter in the film is both somewhere within the drug-laced nimbus of its title character, Terry (Bob Glaudini), and somewhere outside its ironic description of the rampant merchandising of all other human activities. In a way, this abstract element almost serves as a secondary narrative, or at least becomes the ‘point’ of the film. At the beginning, Terry is seen hustling a painter of just such abstract designs to come up with six imitations of another painter which he can unload on the art market. With some ‘persuasion’(👽), Terry overcomes the painter’s reluctance, and at the end of the film returns to collect his merchandise. But the rolls of paper his is given turn out to be blank, and the painter defiantly protests, ‘(🚯)My life is color, form, the shape of things...’ before Terry knocks him down and leaves him lying in a pool of spilled colors that returns us to the abstracts which were shown in detail in the opening shots. It is probably not too deterministic a reading to see Jost as the painter and the blank sheets as the conventional movie which he has refused to provide for audience consumption. 巴士售票员阿义(yì(🕴) )见义(👸)勇(yǒng )为，在巴士上救援(🏫)(yuán )了(🥩)受扒(bā )手欺侮(wǔ )的少女阿(🦍)珍。阿珍(zhēn )活泼美(měi )丽，两(liǎ(💗)ng )人不久坠入爱河。婚后，他们(🍡)共(gò(🐣)ng )创幸福生活，有了(le )可爱(🔙)的(de )儿(🐁)子。阿义在家和在工作(🌁)(zuò )岗(🖐)(gǎng )位上(shàng )勤(😣)勤恳恳，但(🤙)是，巴(🚊)士售(shòu )票(🏮)(pià(🐖)o )员的(de )工作(🤲)很辛(♿)苦，生活也(💜)无(🛠)规(guī )律，阿(🛥)(ā )义(🕞)亲眼目睹一位老售票(🍛)员(yuá(🌬)n )因为(wéi )胃(wèi )出血而惨(🎅)死。不(🐻)久，公司(sī )为了节(jiē )约(🗾)开支(🍡)，实行无人(rén )售票，阿义失(shī(🧠) )去了工作。为了生(shēng )活，他(tā(🎉) )拼命学(xué )习驾驶技术，在阿(🔙)(ā )珍(🥓)的支(zhī )持下，他总算当(🍞)了司(🎈)机，保住了(le )饭碗。 1. Siberian Khatru 小刺猬(🍡)和小(🎂)白兔一(yī )起(🎚)(qǐ )拿蘑(mó(🥋) )菇当(🦐)降落伞玩(🚔)过(💱)后，开始(shǐ(🕷) )用(yò(🏳)ng )手捡(jiǎn )红(🎗)果(📪)，妈妈看到(🍇)了，要(🔃)它(tā )停止(zhǐ )用(yòng )手捡(👜)改为(🖥)用刺背，小刺猬(wèi )问为(⤴)(wéi )什(🏊)(shí )么，妈妈说：“我妈妈(🕌)是(shì(🗝) )这样教(jiāo )的，我妈妈的妈妈(✡)(mā )也是这(zhè )样教的(de )”。小刺猬(🚁)想要红(hóng )果树上(shàng )更大的(🍦)(de )红果(👼)，妈妈试着跳(tiào )起来用(🔙)(yòng )刺(⤴)摘、使劲摇晃红果树(📂)等(dě(🌔)ng )方法，红果均(🥧)纹丝不动(🔒)，她摇(🈚)头(tóu )离(lí(🉑) )去(🎉)时(shí )，小刺(💸)猬跳(🕣)起来用手(📭)摘(🍅)下(xià )了(le )大(🌊)红(hó(🚸)ng )果。 映画『ウルトラマ(🐟)ンレ(🌖)オ かなしみのさすら(🀄)い怪(🎫)獣』 Thakur Rajnath Singh Chouhan opens a can of worms when he announces that he is going to marry a prostitute by the name of Tulsi. His mother will not even consider Tulsi as a daughter-in-law, and would prefer that he marry Sanjukta. Tulsi convinces him that he should marry the woman of his mother's choice, which he eventually does. Thereafter Tulsi gives birth to a baby boy, Ajay, and passes away. Sanjukta raises Ajay as her own child, even after the passing away of Rajnath, and even after giving birth to Pratap. Ajay is given the entire responsibility of the estate, while Pratap squanders money on courtesans and alcohol. Sanjukta trusts Ajay, until one day when a villager complains to her that Ajay has got his daughter, Geeta, pregnant; additionally she also finds out that Ajay has been misappropriating money, and also owes money to a prostitute named Leelabai, the very woman who sold Tulsi to Rajnath. Now Sanjukta has to decide what is to be done with Ajay. 奥斯卡(kǎ )（大卫(🕚)·本(🚾)奈特 David Bennent 饰）的家(jiā )庭有些(xiē(🗺) )荒诞。他的母亲和(hé )自己的(🗻)(de )表弟相(xiàng )恋，由于近亲不能(💨)(néng )结(🥇)婚，所以被(bèi )迫嫁给了(📞)一位(🛡)商人(rén )。奥斯(sī )卡是谁(👹)(shuí )的(🚥)孩子只有他母亲(qīn )知(🍒)(zhī )道(💵)。在他三岁生(👙)日那天，母(🥄)亲(qī(🕐)n )送(sòng )了他(🐘)(tā(🦄) )一面铁皮(🧜)鼓。奥(🚡)斯卡十分(⛳)(fèn )喜欢，整天(🌙)挂在(🤕)脖子上敲。