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雷(😚)(léi )德利·斯科(kē )特(💂)商谈执(🥖)导(dǎo )福斯新片《女王(🧢)与国家(🔃)(jiā )》(Queen & Country)，若谈好(hǎo )了他(tā(🤳) )也将同Chernin Entertainment共(😶)同(tóng )制片。基于(yú )Greg Rucka所(⬅)著同名(🏅)漫(màn )画，聚焦英(yīng )国(🥙)秘密情(🌬)报(bào )局特工Tara Chace，她(tā )是(😪)三个致(🗳)力(lì )于保护英国(guó(👅) )情报机(🕵)构的(de )特工组织中(zhō(🧖)ng )的其中(🍮)一(🌺)员(yuán )，在一次暗(à(🌋)n )杀(🔁)任务重(🕘)身(shēn )份被暴露。 Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema. 年(niá(😴)n )轻的时(🤰)候，爱丽丝为自(zì )己(🧛)深爱的(🏨)男(nán )人瓦尔德偿(chá(😿)ng )还了巨(🚨)额债(zhài )务，多年后(hò(🎽)u )的今天(📍)，是(👭)(shì )时候该由他(tā(🐓) )来为她的(🗑)生(shēng )活埋单了。 故事(🔥)(shì )讲述(🐆)的是一(yī )位女性在(💮)婚(hūn )姻(🤺)破裂期间(jiān )的内心(🤱)生活(huó(🏥) )，她的一颗(kē )心也伴(🐢)随着(zhe )婚(🎆)姻的失败(bài )黯然失(🎂)色。她的(🍸)过(🥈)去种(zhǒng )种以及将(👸)来(🤟)(lái )可能(💟)要面对(duì )的生活通(🤷)过(guò )一(🎭)些断续的(de )片段和诙(🕓)谐的(de )方(💳)式娓娓道(dào )来，我们(🍘)可(kě )以(🔴)看到她的(de )梦想她的(🔐)渴(kě )望(🌖)就(👝)如同这(zhè )影片所(🚥)设定(dìng )的(🚈)以放荡为(wéi )基调的(🕶)伦敦(dū(🕡)n )市一样，而(ér )这种(zhǒ(🎗)ng )基调通(📑)(tōng )过ProculHarum的(de )曲子和Mark Boyle的声(🏢)(shēng )光色(🏓)电俱全(quán )的摇滚乐(🉑)来(lái )展(🍎)示。 Justino was working in a bull-ring but now he is retired. For him it is very difficult to adapt to the new situation although he will find soon a hobby without forgetting his profession. 精神(shén )分裂的细(🛣)辉(huī )（(🦕)张(⛸)家辉 饰(shì )）假释(💋)出(👍)狱(yù )。当(🚯)年，他(tā )一人砍死几(📙)(jǐ )十人(🏛)，却因(yīn )遭警察（廖(🕕)(liào )启志(🖇) 饰）冷(lěng )枪而被捕(➕)。29年后，老(🙎)帮主(zhǔ )已死，新帮(bā(🚈)ng )主候选(💮)人(🔀)有(yǒu )两个：箭猪(💮)(zhū )与彼得(👊)（谭(tán )耀文 饰）。前(🌩)者好色(🎴)胆(dǎn )小，后者心(xīn )机(🌶)颇重。叔(🤫)(shū )父们想挺箭(jiàn )猪(🍾)上(shàng )位(🏄)，让他去(qù )接细辉出(🚓)狱(yù )，拉(☕)拢他对(duì )抗彼得。箭(🤕)(jiàn )猪准(🕥)备(🎦)给细(xì )辉接风，后(🎋)(hò(🦔)u )者非但(🙃)不领(lǐng )情，还当面(mià(🙋)n )救走了(🌞)箭猪(zhū )要对付的三(💒)(sān )个人(🍥):皮条客(kè )蛋挞（王(👽)晶(jīng ) 饰(🈹)）、妓女(nǚ )大凤（(🐿)莫小奇(📭) 饰(🚡)）、小凤(fèng )（孟(🐃)瑶 饰）。原(🐘)来，大(dà )凤是蛋挞手(😀)(shǒu )下的(🍌)妓女，曾受到箭猪(zhū(🗞) )强暴。当(😂)她(tā )得知弱智的(de )妹(🥕)妹小凤(🕔)被(bèi )拐骗到香港(gǎ(🍧)ng )，便(biàn )奋(🍥)不顾身前(qián )去营救(♌)。为(wéi )此(🙅)，得(⛪)罪了(le )箭猪。细辉(huī(🥔) )带(🌺)她们回(🌼)自(zì )己家，细辉(huī )的(🕐)母亲（(🚼)鲍(bào )起静 饰）已(yǐ(🕐) )经老年(👍)痴呆(dāi )，认不出儿(é(🎀)r )子，却倍(📋)感(gǎn )亲切。此后(hòu )，细(➖)辉和大(👳)(dà(💽) )凤产生了感情，然(🛫)而他却(què(📅) )成为了帮派(pài )的焦(✊)点，而(é(🔐)r )且被枪王盯(dīng )上了(🔒)……