帅哥明星

：《南美夜/当(dāng )心(xīn )! 我们要拍(👝)下流电(💒)(dià(🤪)n )影》一(🔪)个(🥂)(gè )笨拙的摄制组计划(huá )拍摄一部(👋)色情电(🍕)影(🌄)(yǐng )。不幸(🎃)的是，剧组(zǔ )里不是自大狂就是(shì(⛳) )无能者(⭐)，还(🌼)有一个(🌬)(gè )过于害羞的道具(jù )经(jī(🔃)ng )理不好(😗)意思从(👮)性(🔥)(xìng )用(yò(🤰)ng )品商店购买任何(hé )用(yòng )具(😭)。然而，他(📋)们(men )还(há(🥠)i )是(🚥)凑凑合合地将(jiāng )拍(pāi )片进行到底(✔)~~ 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. 法(fǎ(👌) )国(guó )名(🕙)导(🤚)演勒卢许与(yǔ )首(shǒu )席女星德纳芙(🌄)在(zài )70年(😹)(nián )代中(🔜)期(🔯)合作的亲(qīn )情伦理片。女主角(jiǎo )在(🛑)年轻时(🔰)(shí(📻) )抢劫银(🚵)行，被囚20年(nián )，她在入狱前生产(chǎn )的(🐅)儿子赛(🚶)门(🐸)已长大(🤴)(dà )成人，出狱后想跟(gēn )赛门重新建(🔵)立母(mǔ(🕉) )子(😻)(zǐ )关系(🛥)，但产生一(yī )些(xiē )挫折，直至(🔆)她发(fā(😺) )现(xiàn )儿(🍒)子(🐻)竟然爱上她(tā )的(de )女友时，事情出(chū(😭) )现(xiàn )了(🔯)转机。而(🤑)她(🐯)自(zì )己(jǐ )也找到了新的爱(ài )侣(lǚ(📩) )，就是赛(😮)门的老(🌑)(lǎ(🕓)o )师(shī )。 Simpleton and honest village farmer, Dharamchand alias Dharam is overjoyed when his wife, Radha gives birth to a baby boy who is christen with the name Raju. He comes to the rescue of three city-bred men, Ajit, Suresh and Sujit when they are at the mercy of a man-eating tiger; please with this they decides to offer Dharam a job in Bombay whenever he needs it. Delighted and when things are not quite rosy in the village Dharam, Radha, Raju and his sister, Laxmi decides to move to the city where-by the duo provides living quarters and appoint Dharam as the managing director of their warehouse along with a fat pay packet. Unfortunately calamity destructs when Dharam is arrested by the police for smuggling goods and is placed before the court where-by he pleads his innocence but his bosses testify against him resulting in Dharam getting 18 months imprisonment as well as an additional 6 months for contempt of court. After completing his sentence Dharam goes to his residence to find that ... "In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide) 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.