有点色的动画片

江(jiā(🍚)ng )湖(hú(🐜) )奇侠梅(méi )星河（王羽 饰）武功高强，其绝招夺(🍂)命流(⛴)星神(🌕)(shén )乎(🏉)其神(🏣)(shén )，人所(suǒ(🏚) )共(gò(✊)ng )惧。某(mǒu )日(⛴)，剑(jià(🐖)n )侠柳青衣邀请梅星河，前去拜访名震江湖的另(lìng )一(🥂)高手(shǒu )—(🕊)—天(🈯)(tiān )魔(mó )星(🔊)花无(👮)(wú )病（成(👝)龙 饰(🚂)）。花无病（成(🔜)龙 饰）武功绝伦，其妻花(huā )雨(yǔ )夫人(rén )颇(pō )喜(📌)男色(📃)(sè )。为防止(🥨)丈夫(💫)阻挠，她在(🚆)花无(🈷)病体内下(🦕)毒，毒(♿)(dú )发之时(shí )，痛苦(kǔ )难(nán )忍。每(měi )年花无病须向(♒)妻子(😤)乞求(🚛)解药(📬)，因此(🧀)他言听计(⏱)从(có(🚫)ng )，好不(bú )愤(👇)懑。 大(😾)(dà )導演楚(chǔ )原作品(pǐn )中，唯一一部潮語戲曲電影，意(🛹)義重大。本(😦)片(pià(🎂)n )是家傳(chuá(🔆)n )戶(hù(🛎) )曉之(zhī )潮(🏵)(cháo )劇(🔄)戲寶(bǎo )，故事背(🚧)景發生於南宋末年，元軍攻陷臨安，宋帝南(nán )逃(🈚)(táo )至(💙)廣(guǎng )東(dō(🐙)ng )崖門(🛤)，遭逢元軍(⛴)圍困(🦏)，危在旦夕(🏖)，下詔(🍣)張達將軍(丁敏(mǐn ) 飾)起兵(bīng )勤(qín )王。張(zhāng )達之義(➿)(yì )軍(💰)遭元軍水(🐒)陸兩(📇)路封鎖，糧(🎍)水斷(🏬)絕，處境十(💧)分(fè(🔟)n )危險；其妻陳(chén )璧(bì )娘(蕭南(nán )英 飾)聞(wén )此驟(🎺)變，立(⏱)即定下奇(🐎)襲元(🧡)軍之計劃(📅)……(🤛) philippe garrel最默默(mò(🤴) )无闻(😸)的(de )作(zuò )品之(zhī(🕍) )一(yī )，nico主演(yǎn )。 清雍正私改诏书,谋夺帝位.传少林(🙅)寺密(🚜)谋造反(fǎ(🕠)n ),遂乔(🧢)装(zhuāng )平(pí(⬛)ng )民,亲(😍)(qīn )身(shēn )潜(❗)伏少(🐼)(shǎo )林寺,苦练少林上乘武功,图闯出通天门.然少(🎨)林寺(🎀)(sì )十八铜(🕟)(tóng )人(🕞)(rén )阵攻(gō(🎸)ng )守(shǒ(✒)u )森严,武(wǔ(🎦) )功变(🦀)幻(huàn )莫测,以雍正武功,能否闯关成功?而他习得(🚂)(dé )一(🚸)身少(shǎo )林(😄)武学(🕌)(xué ),又(yòu )会(🥕)否贻(🚩)(yí )害武林(🤰)(lín ) 剧(🍸)情：这部不可(😕)理性分析的影片，剧情也非常(cháng )简单，主(zhǔ )要为(🐵)(wéi )秦(🔠)(qín )汉为了(🌋)(le )向老(📶)同学车轩(🎬)要回(👸)借去的钱(🧝)，缠着(🥒)车的未婚妻(qī )林凤娇(jiāo )一(yī )起寻(xún )找(zhǎo )车，并(🕘)(bìng )想(🥣)二人日久(🥣)生情(💠)…… 孤儿(🚆)有勇(😢)甚（下田(🎩)逸郎(👾) 饰(shì )）流浪(làng )到(dào )爱知(zhī )县(xiàn )丰川市(shì )寻找(🛅)他(tā(🌟) )的生身母(👌)亲，在(💚)河边的情(🐶)死现(🔯)场，他偶(ǒ(👞)u )然邂(🐍)逅(hòu )了16岁的(de )美(🍑)(měi )丽少女(nǚ )庄菜（秋吉久美子 饰）。庄菜和有(🧡)勇一(🤑)见如故，将(🏨)其(qí(㊗) )引入家(jiā(🤷) )中(zhō(🌇)ng )居住(zhù )。庄(📂)菜的(😒)(de )父亲植科康三郎（佐佐木孝丸 饰）是当地重(🏪)工(gō(⛸)ng )业工厂(chǎ(🍯)ng )的(de )领(🐮)导(dǎo )，一家(🕒)三(sā(🎸)n )口连同终(♌)战前(🗑)便精神错乱的“叔父”冈治芳男(nán )（ケーシー高(🗑)(gāo )峰(🍈)(fēng ) 饰）住(🏉)(zhù )在(🐾)一起(qǐ )。 二(⚡)战结(👑)束，时间流(😒)逝，伊(🥗)莎找到了新(xīn )雇主，受命于(yú )一(yī )个主人(rén )喜欢进(jìn )口少女(🤘)当作(🙎)性奴的阿(🥐)拉伯(🕜)家族。一位(🤲)美国(🧝)百万(wàn )富翁的(🆘)(de )女(nǚ )儿，一(yī )位电影(yǐng )明星和一位妩媚动人的(🐖)马术(🈹)教练都是(🦕)他的(🌽)最新(xīn )牺(👆)牲品(👮)(pǐn )。 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.