二战(zhàn )期(🉑)间(jiān )，一支德国部(bù )队(🥌)开进(🔘)了一个(💇)(gè )叫(🐾)做圣(shèng )劳伦斯的法国(🌕)小村(cūn )庄，被(🖌)高度近(jìn )视的神(🗾)父误(😟)认(rèn )为是(shì )美(mě(😚)i )军。正当村民(🥄)们敲(qiāo )锣打鼓，夹道(dà(🐩)o )欢迎(⌚)时，德军(✌)的出(🈲)(chū )现(xiàn )让他们十分(fè(🎐)n )尴尬。德军进(🛷)驻小(🔗)村(cūn )庄(🏡)，村民(🏐)们不愿帮(bāng )助(zhù )德国(🍢)(guó )人，他(tā )们(🚋)藏起(qǐ )食物，并不断(duà(🈶)n )的给(🕐)德军添(🔗)乱，笑(💊)(xiào )料百出(chū(🚍) )……
サド・マゾ小説(🖲)の大(🌀)家(jiā )団(🗒)鬼(guǐ(💗) )六の代表作の映画化(🕳)で、美(měi )し(🍆)く雅(yǎ )やかな生(🛣)花の(🥄)家元(yuán )が、嗜虐(❤)の魔(mó )手に(📚)かかって、ＳＭの世(🚡)界に(🌲)落ちこ(⬅)んで(🥇)いく姿を描(miáo )く。脚本(🔛)は「女囚(qiú(🙋) )１０(🎃)１ 性(🐈)感(gǎ(🎤)n )地獄」の久保田圭司(📳)(sī )、監督は(🕘)「四年三(sān )組(zǔ )のは(💸)た」(🔍)の藤井(🅱)克(kè(⛴) )彦、撮影は(👶)「濡れた壷」の水野(🗡)(yě )尾(🌌)信正(zhè(🍵)ng )がそ(🥨)れぞれ担(dān )当。
香港渔(🖱)民反抗(kàng )封(😒)建势力和地(dì )方(🐝)豪绅(🗂)压迫的(de )故事。海叔(🥐)一家人住在(👬)一(yī )个小渔村里以(yǐ(💺) )打渔(🐷)为生，老(🔑)老实(🛃)(shí )实(shí )，逆来顺受。地方(🛶)(fāng )豪绅鲨鱼(📰)口愚(🎳)(yú )弄渔(😒)民压(🔴)榨渔民的(de )辛(xīn )苦所得(😲)，当(dāng )时渔船(🥝)(chuán )换代，帆浆被(bèi )新的(🔀)螺旋(👣)浆取代(🧤)，渔民(😇)无(wú )力独立(💡)(lì )支付此(cǐ )笔费用，纷(🧠)纷(fē(😶)n )贷款，而(🔰)渔民(😥)又不(bú )了解贷(dài )款的(🥈)风(fēng )险，不(bú(💨) )少渔(🎿)民因此破产(🏃)，鲨鱼(📊)口利用渔(yú )民文(🐉)化水平低(dī(❕) )思想保(bǎo )守不愿与政(🍝)府交(🛳)往(wǎng )的(🍵)机会(🍧)，放高(gāo )利贷，渔民更是(🧤)债(zhài )务(wù )缠(📳)身只(🤳)能卖儿(📊)卖女(🔵)(nǚ )，海叔有一个(gè )女儿(😖)阿娣非常漂(⛸)亮(liàng )，她与邻家的(de )男孩(🌖)阿(ā(🚕) )龙定下(Ⓜ)亲事(🆖)，阿龙是一个(🏜)进步青(qīng )年，领(lǐng )导渔(🤠)民(mí(🆔)n )与想强(🚝)(qiáng )占(🐀)渔村的奸商(shāng )斗争，二(🎤)人本来准(zhǔ(🚱)n )备结(😁)婚(hūn )，但是(shì(🌿) )阿龙(🕉)因(yīn )为嫁妆羞于(🤲)开口，海叔欠(💆)了债，鲨鱼口为了安(ā(🆖)n )抚阿(⬅)龙(lóng )不(🕯)要闹(💺)事，答应借(jiè )阿龙钱结婚，海叔也可(🍷)有用(🤷)彩礼(lǐ(📱) )钱(qiá(🚀)n )还债，但是要海叔(shū )保(🤜)证阿龙不再(🛅)(zài )闹事，阿龙拒绝了(le )这(🏃)(zhè )个要求，但(dàn )是(🚮)海叔(shū )也因(🎢)还不起贷(dài )款不得不(⛩)被拖(💤)走渔(yú(🚖) )船，淫(😍)(yín )媒珍妈(mā )和鲨鱼(yú(✳) )口串通想骗(😪)阿(ā(👝) )娣去卖身赚(📷)钱，阿(ā )娣为了(le )海叔无(💰)(wú )奈向珍(zhē(🤡)n )妈借钱答应珍妈的(de )条(🏅)件，村(🕠)里人(ré(🖌)n )提议(👦)阿龙和阿(ā )娣私奔(bēn )，珍妈听说后(🐉)来抢(📉)(qiǎng )阿娣(🏥)，被众(✳)人(rén )喝退，海叔为了尽(🚥)(jìn )快(kuài )还珍(🥎)妈钱，冒险在(zài )台风前(❤)出海，阿龙也追上(🤙)海叔同(tóng )行(😞)(háng )，台风过后(hòu )渔村满(☝)(mǎn )目(🥦)疮痍，奸(📷)商(shā(🎚)ng )却借口清理灾区强(qiá(✌)ng )占渔村(cūn )，众(🌫)人(ré(😶)n )都为海(hǎi )叔(🔴)一家担心，鲨鱼口和珍(🦗)妈又来(lái )幸(🗜)灾乐祸，正(zhèng )当此时(shí(🛍) )海叔(🥄)归来，原(🗾)来他(🌶)(tā )们遇难后被内(nèi )定军民所救，海(🐉)叔终(👑)(zhōng )于明(💨)白逆(🤦)来顺受只(zhī )能受人宰(🤱)割，加入了阿(🃏)龙反抗压(yā )迫(pò )的斗(😃)争中。
I got this under the title SPECIAL SQUAD SHOOTS ON SIGHT. I've been slowly watching this movie over the past year in 5 minute increments and I finally finished it tonight. It is a Turkish/Italian co production starring the perfectly named Tony Tiger (real name Irfan Atasoy) as a reporter/part time cop/hypnotist (!) who is blackmailed into working for some small time crooks led by Gordon Mitchell, who sounds like Popeye in this. The gang's goal is to steal a mystical Golden Buddha with the help of Tony's hypnotic powers. The film is needlessly convoluted, with mysterious phone calls where you don't know who is on the other end and characters popping up that you have no idea who they are. It also doesn't help that Tony and the other male lead (a cop whose name I have already forgotten) look almost exactly the same.
如诗田(tián )园(⛔)般的纯洁小(🖋)(xiǎo )品
票房77年第4.
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.
孤儿(👺)(ér )有(🥘)(yǒu )勇甚(🤨)（下(✝)田(tián )逸郎 饰(shì )）流浪(⛅)到爱知(zhī )县(🆔)丰川(🤳)市寻找他的(😥)(de )生身母(mǔ )亲，在(zài )河边(🦀)的(de )情死现场(🎑)，他(tā )偶然邂逅了16岁的(🚂)美(mě(🌯)i )丽少女(💸)庄菜(👴)（秋吉久(jiǔ )美子 饰）。庄菜和(hé )有(🥂)勇一(🦅)见如故(✳)(gù )，将(🈂)其引入家(jiā )中居住(zhù(👴) )。庄菜的父亲(🌭)植科(kē )康三郎（佐佐(💶)(zuǒ )木孝丸 饰）是(✨)当地(dì )重(chó(🖊)ng )工业工厂的(de )领导，一家(🌖)三口(🚯)连同(tó(💙)ng )终战(🚑)前便精神错乱(luàn )的(de )“叔(👔)父”冈(gāng )治芳(🍇)男(ná(💲)n )（ケーシー(💌)高(gāo )峰 饰）住在一起(📼)。
此片是(shì )《Westworld》的(🌤)(de )续集，由彼得．方达(dá(🖖) )、尤(👆)．伯连(🚇)纳、(🎂)布(bù )莱思．丹纳等(děng )主演。内容介(📦)绍阴(🕑)谋者借(⏮)(jiè )机(👃)械人乐园再(zài )次开幕(🦋)之际，以机械(🐳)(xiè )人取代来参观的巨(⌚)(jù )商政要，企图(tú(🖱) )藉此控制全(🕎)世界，不(bú )料他们的野(🕕)(yě )心(🚿)被两(liǎ(📟)ng )名记(🌇)者予以揭(jiē )穿。该片在(🛺)内容上(shàng )没(👾)(méi )有(🎲)上集那么(me )新(🚙)奇热(rè )闹，但在剧情(qí(🤕)ng )上增加了悬(🏙)念性，高潮性(xìng )亦拍得(🏔)(dé )相(🤩)当紧(jǐ(⛺)n )张刺(⛱)激。