电影(🦖)北(běi )少林描(📍)述了(le )中(zhōng )国(🆘)抗日战争时(🈵)期武林(lín )人(🍊)仕与日本侵(qīn )略(🛄)者的争斗(dò(💝)u )。
惠淑为市木(🎣)(mù )家(jiā )料理(🐢)家务，目睹市(🏷)木(mù )和妻子(🔖)艾子彼(bǐ )此恩爱(🏥)，心(xīn )生(shēng )嫉(👤)妒。于是，她利(🍬)用市木的母(😕)亲和(hé )春哲(🐞)等人，将(jiāng )艾(🐟)子致死，夺(duó )取了(🎧)她的财富和(🏦)幸福(fú )。十年(🎸)后，艾(ài )子借(♟)助春哲(zhé )为(🔙)(wéi )她画的画像(xiàng )还(hái )魂，回到(🎶)市木家。艾(à(📭)i )子的冤魂将(🧑)惠(huì )淑和市(🦇)木的(de )母(mǔ )亲(😒)杀死，却因普贤菩(🗯)(pú )萨的干预(🔺)没能(néng )杀害(🛥)市木的(de )孩(há(✋)i )子。市木扎(zhā(📢) )瞎(xiā )双眼，请(💞)求艾子的原(yuán )谅(🤷)。艾子的幽(yō(🚅)u )魂盘旋一日(⏲)(rì )后(hòu )离开(😅)。
美食杂(zá )志(➕)主编Charles Duchemin（Louis de Funès）(🌆)具有天(tiān )赋异禀(⏰)的嗅觉(jiào )和(🐛)味觉，食(shí )物(🅱)(wù )经他的鼻(🥦)子一闻、嘴(📂)(zuǐ )巴一品，是否(fǒu )真如传说中(😽)(zhōng )美(měi )味便(🕢)可得知(zhī )。为(🔭)了让读者品(💞)尝到真(zhēn )正(🧞)可口的食物(wù )，他(🥢)常乔装(zhuāng )打(🌥)(dǎ )扮潜入各(🔘)大饭店、旅(🧟)(lǚ )馆品尝食(🔩)物，好的，他会(🛣)(huì )在(zài )杂志上极(🈳)力(lì )推(tuī )荐(👱)，差的，则痛快(👻)骂(mà )之。因此(✉)，他(tā )成了饭(🎑)店、旅(lǚ )馆(💣)老板眼中的魔鬼(👅)，却也是读者(🤫)心(xīn )中的上(💢)帝。
TV第(dì )54话再(🥑)编集版(bǎn )。
：(🗝)《南美夜/当心! 我们(men )要拍下流电(🐱)影(yǐng )》一个笨(⛲)拙(zhuō )的(de )摄制(🐳)组计划拍(pā(🏓)i )摄一部色情(👷)电影。不(bú )幸的是(🎟)，剧组(zǔ )里不(👩)是自大(dà )狂(🧐)(kuáng )就是无能(🌽)者，还有一(yī(📞) )个过于害羞(⏸)的(de )道具经理不(bú(✡) )好(hǎo )意思从(🏘)性用(yòng )品(pǐ(🍕)n )商店购买任(🐝)何用具。然而(😷)，他们还(hái )是(🔮)凑凑合合(hé )地(dì(🛑) )将拍片进行(🍷)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.
Although pretty much forgotten, The Last Round aka Il Conto é Chiuso is a good example of a familiar story made fresh by the quality of its execution, as a stranger drifts into a decaying Italian industrial looking to settle an old score. But this violent modern-day (well, 1976) poliziotteschi is closer to Dashiell Hammett's Red Harvest than the first two films it inspired, Yojimbo and Fistful of Dollars, set in its own Italian Poisonville divided between two rival gangs that he soon sets against each other. Surprisingly, despite being directed by the sometimes more adequate than inspired Stelvio Massi, it's shot with striking visual imagination and remarkably fluid camera-work from Franco Delli Colli. The two leads are impressive too, with Luc Merenda a wonderfully effective and dapper villain and undefeated middleweight champion boxer and offscreen wife-beater and murderer Carlos Monzon a surprisingly effective leading man in the mould of a young Charles Bronson.
"The film takes place during the German occupation of Denmark in a provincial town in the summer of 1943. Kirsten falls in love with a German soldier from the occupying authorities. She slowly becomes entangled by her own feelings and. when it dawns on her that he German is the "enemy" and her love "wrong" it is too late. She chooses love..... and pays the price.
philippe garrel最(🎙)默默无闻的(🦐)(de )作品之一，nico主(👕)(zhǔ )演。
12岁的小(xiǎo )女(nǚ )孩爱丽丝(🏽)•斯佩姬（(👶)Paula E. Sheppard 饰）来自一(🧟)个(gè )单亲家(📴)庭，她(tā )与母(🚠)亲凯瑟琳(lín )（Linda Miller 饰(🐬)）和妹妹凯(🐠)伦（Brooke Shields 饰）生(Ⓜ)活在一(yī )起(👾)。凯瑟琳(lín )几(😥)(jǐ )乎将全部(🏙)的母爱给了(le )凯伦(🚱)，而爱丽(lì )丝(🙁)仿佛被遗(yí(🐟) )忘(wàng )了一般(🛅)。她(tā )的(de )性格(😵)因此日渐反(💎)叛和(hé )扭曲。