郭德纲相声集

导演Jorge Darnell是阿根廷(tíng )人，76年政(zhèng )变(👜)后(🎽)离(☝)开(kāi )祖国流亡西(🕦)班(📁)牙(🖱)、意大利、墨西(💅)哥(📬)等地，此片在西班牙拍摄，讲我们敬爱的(de )德拉古(⛵)拉(📣)(lā )爷爷经过(guò )几百(🎵)年(😓)后(🕕)来到现代，由于居(🚝)住(🧠)的(👲)城堡年久失修再加(💸)上前来旅游观光的人很多(duō )，而他的(de )健康和经(🏋)(jī(♓)ng )济(🐘)条件也越来越窘(✴)迫(📜)，虽(🌯)然衣食无忧，但他(🙀)决(🗒)定利用自己的功力改变现状。影片在超(chāo )现实(🌄)的(🐙)诡(🐵)(guǐ )异气氛中还原(😾)了(🤨)吸(🕖)血鬼作为一种动(🙄)物(🖊)的生存本能，略带喜剧元素的故事背后(hòu )表达(🛹)的(👉)是(shì )作者对现(xiàn )实(🗳)世(🐎)界(🎬)的思考和回映。 趙(⏮)老(📏)先(🏖)生是位已失明的雕(🛺)刻家，一生一直是在雕刻中(zhōng )渡過。雖(suī )然，他每(🦑)(mě(🔅)i )天(👔)所刻的不過是一(🕶)塊(🎟)木(⬜)頭，卻好似成為一(💸)種(🚢)心靈上的寄托，一心一意要刻好(hǎo )這一座關(guā(🚳)n )公(🍔)雕(😆)像。經過四年的時(😒)間(🏙)，他(🆗)一直不持續雕刻(🍳)關(🤱)公神像的工作，並且認為神像完成之(zhī )時，將會(💙)(huì(❇) )產生無比(bǐ )神奇的(🥦)力(🎆)量(🍝)。 满男的临时代课(🍬)老(🐱)师(🍎)雅子来家里做家访(🎙)时，阿寅刚好回来，面(miàn )对年轻而(ér )美丽的雅(yǎ(📞) )子(🎤)，阿(🤶)寅一时收不住，急(🤰)于(🈂)表(🍇)现自己，使原来准(⚪)备(⬅)与老师沟通的家长插不上(shàng )话，伤了(le )大家的面(🛎)(mià(🤲)n )子(🧐)。阿寅再次离开家(🛴)去(🍺)游(✏)荡，在长野，他和剧(🖍)团(🌩)的小百合等人欢聚，却因为(wéi )交不上饭(fàn )钱而(🏇)被(🗝)关(guān )进警署。待妹妹(📐)樱(🎚)花(🖥)赶去时，他又在请(🚋)警(🦎)员(🐑)吃饭！ 十三岁的女孩(🥊)琳（朱迪·福斯特 Jodie Foster 饰(shì )）独自居(jū )住在靠海(⬇)的(👽)一(🌓)座小屋里，她的父(👠)亲(🕢)已(🤝)去世，母亲离家出(📳)走(🔪)。疼爱他的父亲帮(bāng )她预付了(le )三年的房(fáng )租，直(🎠)到(🚮)她(🕊)能够自谋生活，她(🐜)需(📰)要(💆)做的就是守住父(🐵)亲(🛹)已逝的秘密以保住居住(zhù )权。但这(zhè )对于一个(🙃)(gè(🏫) )小女孩来说一点也(🏞)不(📛)易(💃)，为了躲避闲人猜(🤼)疑(🌬)，她(😶)始终独来独往，学着(🤕)天衣无(wú )缝地处理(lǐ )大小事务(wù )。与世无争的(🈯)她(🍟)还(📋)要面对常来找茬(🎲)的(✒)女(😥)房东和其儿子的(〰)骚(🚲)扰，偶尔警察登门(mén )，琳则需(xū )要编造一(yī )系列(🌆)的(🍘)借(👌)口掩饰父亲的缺(🗝)席(✈)。一(🖥)次意外让琳结识(👟)了(🔢)一个跛脚男孩马里奥（斯(sī )科特·雅(yǎ )各比(㊙) Scott Jacoby 饰(🔼)），琳开始时对他提(👙)防(🈚)着(🗑)，但经过大大小小(🕤)的(🐳)考(🚞)验，他们渐渐开始信(😫)任对方，琳终于告(gào )诉了(🏒)他关(guān )于自己和这座(🤸)房(🎚)子(🤢)的秘密，也开始觉(🚖)得(🐵)自(💁)己越来越离不开(🥦)他(👻)。然而好景不长(zhǎng )，马里奥(ào )因染上肺(fèi )炎病危(🌛)住(🗨)院(🍄)，前所未有的孤独(🍭)感(🚾)向(🐌)琳袭来，同时威胁(🌶)也(🛡)在逼近：房东儿子竟(jìng )发现了房(fáng )子的秘密(🍓)(mì(🏷) )，以此要挟，无助的琳(🔽)将(🦅)如(🐀)何面对这一切呢(🆔)？(✒) The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 七十年代出品的大型战争片之(zhī )一，焦点(diǎn )是(🌡)美国与(yǔ )日本海军对(😰)垒(🔍)的(💬)中途岛战役。在当(🎇)年(🏧)的(💡)一批同类电影之中(🎫)，本片不算是突出(chū )之作，导(dǎo )演杰克．斯米特(🏃)的(🗓)处(👮)理手法相对比较(🖍)平(🐆)庸(🐧)，但超级明星阵容(🙅)却(🏻)可以令今天的观众重睹(dǔ )上一代巨(jù )星风采(🌒)，而(🌧)海战的场面也实在(❕)拍(📷)得(💒)逼真，使本片仍维(🏋)持(🙏)了相当的趣味性。主演的巨星(xīng )包括：查(chá )尔(📆)顿．赫(hè )斯登、亨利(🍙)．(🦆)方(🍿)达、格伦．福特(🦊)、(🌉)罗(🧢)伯特．米彻姆、克(🕡)里夫．罗布森、詹姆(mǔ )斯．科伯(bó )恩、三船(🛅)(chuá(🚲)n )敏(🎁)郎。当时还是新人(💃)的(🕡)汤(🏴)姆．塞莱克也露(🐥)脸(📕)演了一个小角色。