太平街一幢旧楼(lóu )内住着(🤮)(zhe )一群小市民，二房东(⛏)八(👽)(bā(💓) )姑(🏠)(gū(🐸) )小器且泼辣，对租客挑(tiāo )剔，租(zū )客能忍则忍，大家凑(📝)合(🤐)(hé(⛲) )著(🏰)(zhe )过(🙁)活。此旧楼大业主家(⛰)(jiā(😕) )财(🍨)千万(wàn )，元配早丧，对风骚女(nǚ )佣(yòng )生非份(fèn )之想，一众子(🦕)媳(🐄)(xí(🔲) )怕(🤢)女(㊙)佣(yòng )霸占财(cái )产，竟各自另聘(pìn )一(yī )个女佣(yòng )服(🗯)侍(👸)老(🏻)爹(🍑)，把(😤)老爹弄得(dé )团团转(zhuǎ(😏)n )。太(🤼)平山下还有(yǒu )不(bú )少妙事(shì )：有人(😚)为争一口气不计(jì(✂) )成(⛲)本(🚁)经(🤷)(jī(🈚)ng )营粥档，有人到减肥所(suǒ )只(zhī )为追求女性，有富家小(🦎)(xiǎ(🏡)o )姐(😭)趾(🔜)高(🖍)(gāo )气扬，反被求职者(🤘)奚(🍀)落(🐔)(luò )一(yī )番……林林种种，千奇(qí )百怪。然后大业主加租三(🎞)倍(🎤)，八(💏)(bā(😘) )姑(👆)等人(rén )无力负担，幸其(qí )中一住(zhù )客东拼(pīn )西凑(💂)购(㊗)入(👅)一(🏩)房(🙌)子(zǐ )，慷慨让(ràng )其他租(👠)客(💭)入住，渡过难(nán )关
Emperor Raja Raja Chozan seems to count a little too much on his newly-appointed, deceptive minister. But he knows what he is doing.
具争(zhēng )议性和开创(🐚)性的(de )喜(xǐ )剧演(yǎn )员(🤤)(yuá(📖)n )伦(🧖)尼(📡)布(🌭)鲁斯的传记电影(yǐng )，全片(piàn )追溯伦尼布鲁斯反政府(🏭)(fǔ(🈚) )的(💖)(de )政(🐧)治(🤛)观点。全片以倒叙(xù(😔) )的(〰)手(🙍)法(fǎ )，分别从母亲、妻子和(hé )经(jīng )纪人的(de )角度出发讲叙(💩)了(🐝)(le )喜(🌇)剧(🗨)演(🐤)(yǎn )员伦尼布鲁斯的一生。
Strange things have been happening to Valentina, a young and beautiful professional photographer, ever since she made the acquaintance of Baba Yaga, a mysterious older woman who gave her a lift home late one night. For one thing, Valentina has been having weird, kinky nightmares. For another, one of Valentina's cameras seems to have acquired a deadly curse. And then there was that visit to Baba Yaga's house, where Valentina discovered bizarre relics, including a dominatrix doll, and a bottomless pit in the living room. Valentina comes to realize that Baba Yaga is a witch who is out to possess her - body and soul.
本(běn )片以美(měi )国50年代美(🀄)苏(🔕)冷(🕊)战(📌)(zhà(🦊)n )时期为(wéi )背景，围绕女(😩)主(😃)人公凯(kǎi )蒂(dì )·莫若(ruò )斯凯（芭芭(🏋)拉·史翠珊(shān ) Barbra Streisand饰）(🙋)与(😊)(yǔ(👩) )男(⛱)主(🎶)人公哈贝尔(ěr )·加德(dé )纳(nà )（罗伯特·雷德福 Robert Redford饰(👌)）(😙)讲(🏽)述(🎞)了(🙃)(le )一段由相识到相知(🔑)相(🌏)恋(😲)(liàn )，却因彼此间个性和政治(zhì )立场的(de )差异而分手的爱情(🌬)故(💓)事(➿)(shì(😯) )。凯(🔮)蒂，性格倔强浓烈的(de )左翼女(nǚ )生，在校担任青年政(👧)党(🥧)(dǎ(🍳)ng )联(🌄)(liá(🌅)n )盟主席(xí )；而主张明(📑)哲(⛱)保身的哈(hā )贝尔则(zé )是学校有名的(🏒)运(yùn )动(dòng )和写作(zuò(💟) )才(🖖)子(🧞)。两(👧)人(❕)顺理成章地(dì )走到一(yī )起，也不可避免地(dì )分道(dà(🚯)o )扬(🦖)(yá(⏸)ng )镳(📠)。许(💹)多年以后，哈贝(bèi )尔(🛏)在(🤨)街(🍜)(jiē )头与凯蒂重逢，往日情(qíng )怀(huái )，不禁涌上心头。
将少(shǎo )林(👪)寺(⛽)视(♋)(shì(📊) )为(🔱)眼中钉的清廷利用安(ān )插(chā )在少林(lín )寺中的奸细(⛴)提(🎍)供(☕)(gò(🧒)ng )的情报(bào )，调遣了各路(❔)高(🆑)手火烧(shāo )少(shǎo )林寺，处心积虑地想一(📵)举消灭(miè )少林子(zǐ )弟(🚬)。事(💾)出(🚼)突(🙍)然，寺(sì )中僧人(rén )及俗家弟子仓促应战一(yī )番后十(🕟)(shí(🐙) )死(❤)其(📴)九(💛)。
外号小老(lǎo )虎的(de )沈(shě(😳)n )新(🎵)（孟飞）是国术馆里(lǐ )的武术(shù )高手。一日，馆长要沈(shě(🍒)n )新(⏲)(xī(🏏)n )和(🧗)上(⛷)门踢馆的陈之龙（石天）过招，自以为是的陈之(zhī(🤕) )龙(🏷)(ló(🧕)ng )当(🍯)然不(bú )是沈新的对手(🔔)，吃(🏧)了败(bài )仗后黯然离开。某日陈(chén )之(zhī(💷) )龙被高(gāo )大良（冯淬(😕)帆(🉐)）(🤯)追(🚈)债，沈新路(lù )见不平出手相助(zhù )，高大良(liáng )不满沈新(🐞)多(🎻)管(🔏)闲(😏)事(😗)，打(dǎ )死陈之(zhī )龙，故意(🚠)嫁(🚛)祸给沈(shěn )新。 沈(shěn )新不甘心被诬赖，誓言(yán )要亲手(shǒu )逮捕(🕵)真(💭)凶(🗽)。他(🛄)从(🐍)警局里(lǐ )逃(táo )出来，躲在女友谭芳（李琳琳(lín )）家(⛄)。警(🖖)方(🚤)也(🏺)因觉得事(shì )有(yǒu )蹊翘(🌟)，便(🔑)故(🏭)意让沈新离(lí )开。为(wéi )了除掉沈新，高大良派(pài )同(tóng )伙的(🗃)美(🥚)(mě(🕸)i )丽(🤒)（林玑）跟踪谭芳，打算要(yào )比警方早一步找(zhǎo )到(🐷)(dà(😕)o )沈(🌼)新(🦇)。 沈(👭)新到处奔走打听高大(🥍)(dà(🏟) )良的下(xià )落，高大良则是三(sān )番两(liǎng )次(cì )派人杀害沈新(🌅)，却(💥)都(🛤)被(🥃)(bè(🏣)i )沈新击(jī )退。国术馆的同事因担(dān )心(xīn )沈新的安危(🏳)，主(🚕)动(🍩)告(🛒)诉(sù )警方沈(shěn )新的藏(🥠)匿(📖)地(🍹)点。但此时(shí )沈(shěn )新正在(zài )与高大良派来的(de )高手拼(pīn )得(🛬)你(💈)死(👒)我(🛃)活，经过一番(fān )搏(bó )斗，沈(shěn )新终于打败高大良，警(jǐ(😼)ng )方(📤)也(🙏)及(🍿)(jí(🚽) )时赶到现场逮人(rén )，还(🧐)沈(🚪)新(xīn )清白。
1974's The Nickel Ride is the work of director Robert Mulligan (To Kill a Mockingbird, The Stalking Moon) and writer Eric Roth (The Onion Field, The Insider). It's also the best film by far for Jason Miller of The Exorcist. The story of an obsolete mobster is less a neo-noir than a movie that behaves as if the noir period never ended.
Hot Wins (made in the majority language, Hindi) boldly confronts a problem familiar to every Indian but hitherto 'taboo' in Indian cinema, theatre and literature: the tension between the Hindu majority and the Muslim minority in India, one of the most delicate and sensitive issues in Indian politics. Indian art had conventionally avoided the issue by showing HIndus and Mislims in their own repective communities, with hardly any penetration of each other's worlds. The truth is, of course, less tidy, and Sathyu tries to broach it by looking back to 1947, the year that india was granted independence, when the sub-continent was divided into India and Pakistan. The partition is not only the background and context for the film's plot, but also its main dynamic, since the storyline chronicles the break-up of a large Muslim family in North India as more and more of its members leave for a brighter future in Pakistan.