Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema.
The Last Desperate Hours benefits immensely from two great leading performances; chiefly Antonio Sabato in the lead role. Sabato fits his character like a glove and comes across excellently as the detestable sleazebag at the centre of the film. He gets great backup from Pier Paolo Capponi as the lead cop on the case. The atmosphere created by Giorgio Stegani is just great and he manages to create an impression of Milan that is as downtrodden and corrupt as the lead character. The film features the Spaghetti style that most genre fans will appreciate - the score by Gianni Marchetti is truly memorable. The plot flows quickly throughout and none of the ninety minute running time is wasted. The director ensures that we always know the central figure is on a deadline and he keeps things interesting by keeping up the cat and mouse game between cop and criminal, as well as implementing a good few murder scenes - one involving a medical saw is a particular highlight! It all boils down to a surprising, yet fitting ending and overall this crime flick is one of the best Eurocrime entries that I've seen and is well worth the trouble of tracking down!
台北市中心(xīn )，一个(🤸)衣衫褴(lán )褛(🥍)(lǚ )的(🚽)男子(zǐ )李武雄（陈(🕖)(chén )文(🏃)(wén )斌 饰）怀(🔱)抱着(zhe )不满10岁(🕦)的女童（赵(🤣)祐(yòu )萱），准备跳(tiào )天桥(🕺)自杀(🆕)，这引起(🛀)了(le )警(🤙)(jǐng )方和媒体(📱)的(de )围(wéi )追堵(♟)截(jié )。在电视机前(qián )，很多(🔬)民众关(guān )注(🌫)着事(🐯)态的发展。面(🚩)(miàn )对警(🚇)方，武(🏏)雄(xióng )口(kǒu )中疾呼“社(shè )会(🐝)不公(gōng )”，引起(🧣)了大(🧚)家(jiā )的好奇(qí )。原来(🔎)，武雄(🏺)(xióng )与前女友同居(jū )时育(🗒)有一女，即他(😞)怀(huá(🕤)i )抱中的女童，孩(hái )子(🎱)名叫(🛎)(jiào )妹仔。后来(🤦)(lái )，前女友改(🧓)嫁，音讯全无(🍋)。武雄独立(lì )抚养女童，两(🌋)(liǎng )人(🈂)相依为(🏚)命，生(♎)活悲(bēi )惨(cǎ(🤒)n )。为了讨生(shē(👚)ng )活(huó )，武雄(xióng )从事了多项(🤛)高(gāo )危工作(🛎)，潜水(💅)(shuǐ )排污就是(🤑)其中之(🥤)一。妹(🕓)仔到了适学(xué )年(nián )龄，但(📰)是依(yī )照法(⚾)律(lǜ(🚃) )，法定监护人——即(💑)生(shē(🔓)ng )母和继父才有(yǒu )资(🈁)格办(🖌)理手续(xù )。武(🏵)雄虽(🚨)为生父，却(què )因无法(🎡)律依(🆗)据(jù )，无法行(háng )使监护人(👣)的(de )权(quán )利，为(🐅)了妹仔(zǎi )可以如愿入学(🗓)，武雄(💪)(xióng )踏上(💕)了一(🤐)条艰(jiān )辛的(👎)维权之路…(📻)…
Well, this unknown but genius horror film had a deep and real beyond story, including the mystery of the screenplay, very real feeling of dead world. I can compare this film with Lucio Fulci's last "The door to the silence" of the same year. A detective is working on a strange suicide story and meets strange people who tells about "forzi"- some beyond creatures taking away people beyond. The hero was prohibited to say the words "The life is wonderful and nice". Every time he said that accident happen. Bad ending . A lot of cemeteries, super sound-effects, true story and masterpiece music.
男(nán )孩(hái )为母亲复仇(🈴)(chóu )替(tì )天行(🐚)道(dà(🕐)o )，而导演却致(🛵)(zhì )力于(🚓)心理(🎚)惊悚(sǒng )，细腻的展示男孩(🛀)如(rú )何走向(♈)极端(✴)，复(fù )仇更黑暗，更压(👌)抑(yì(⏫) )，只是这场杀戮(lù )最(🛶)后可(🍃)(kě )以不用付(📟)出任(🕢)(rèn )何代价，结局(jú )大(🍎)快人(🐉)心。影片气质(zhì )沉稳，角色(📰)塑(sù )造(zào )相(🈲)当立(lì )体，几位演(yǎn )员(yuá(🕌)n )的表(💀)演也和(👠)整(zhě(🍓)ng )部电影一样(🌔)让人十足(zú(🥗) )的惊艳.
旭日初(chū )升，清纯(✍)少女黑衣麻(🈸)(má )陶(👵)(táo )（花泽香(🐥)菜(cài ) 配(🧜)(pèi )音(♋)）终(zhōng )于迎来了期待(dà(🌑)i )已久的初中(🔔)入(rù(🚠) )学式，水手服标志着(👋)(zhe )青春(😔)的开始。在(zài )学校门(🕶)口，她(👚)邂逅(hòu )了(le )乘(🖖)坐豪(👵)华轿车(chē )上学的(de )同(🎆)班同(😔)学小鸟(niǎo )游优美（泽城(🏛)(chéng )美雪 配音(🏋)），顿时为(wéi )对方的成熟(👫)知(zhī(⚡) )性(xìng )气(🐑)息所(📮)(suǒ )吸引。她主(🌩)(zhǔ )动(dòng )上前(🕧)搭话，两(liǎng )人很快成为开(🆙)心畅谈(tán )的(🔮)好朋(📡)友。家(jiā )境优(🗝)渥又怎(🛌)样？(💇)履历(lì )平(píng )平又如何？(🆕)这(zhè )些都没(🧓)(méi )有(🧡)成为障碍，麻陶和优(🍨)美的(👦)(de )友情不断加深。快乐(🚩)(lè )无(👺)忧的第一学(🐂)(xué )年(😺)(nián )转眼过去，升入二(🍏)(èr )年(⛓)(nián )级后，麻陶和(hé )优美分(🌗)入了不同的(🏑)班(bān )级。开朗外向(xiàng )的麻(🏜)陶似(🗞)乎很快(🦓)适应(🧔)(yīng )了新的环(⏮)境，也(yě )结交(👩)了(le )新的朋友；而(ér )一向(⛪)内向恬静(jì(👕)ng )的优(🐿)美虽然默不(🔃)作声(shē(👃)ng )，心底(📎)却依稀(xī )升起几分落寞(❓)。
1999年12月(yuè )、夫(🚔)婦で(🌹)ワゴン車に乗(chéng )っ(🦗)て旅(🍻)をしている最中に(🌽)末(mò(🎞) )期がんだっ(💱)た妻(👌)が車(chē )内で亡くな(🤱)り、(🔳)保護者遺棄致死事(shì )件(🍙)(jiàn )として報(🚔)道された実話を、三浦(🕡)友(yǒ(🛁)u )和と石(❣)田ゆ(🚆)り子主演で(⏲)映画化。当(dā(🚂)ng )事者の夫・清(qīng )水(shuǐ )久(🤤)典さんによ(👝)る同(🏰)名(míng )手記を(🛐)もとに(🐖)、死(☕)と向き合いながら9カ月(👦)間にわたっ(⛏)て旅(📕)を続けた夫(fū )婦(fù(🏀) )の深(🚛)い愛を描(miáo )きだす(🚼)。三億(🎮)円強奪(duó )事(🥩)件を(🔁)題材にした映画「(🏣)初恋(🚁)」の塙幸成監督がメガ(🕔)ホンをとる(🀄)。
《用(yòng )心跳》讲述的(de )是个穿(🏙)越的(🥁)题材，三(sān )十(🦔)年代的六个(🍩)(gè )戏班小子(💕)穿越时空隧(suì )道来到2009年(🕺)的上(shàng )海(hǎ(😰)i )，却必(⛴)(bì )须每人收(🤔)两个(gè )徒弟(❓)才能“回(huí )到过去”。片中胡(🕶)军(jun1 )扮演六个(🏇)小子(💚)(zǐ )的师傅，林熙(xī )蕾(💃)扮演(🥁)(yǎn )现(xiàn )代社会中的老(lǎ(🐌)o )板娘，赵雅芝(🔹)则扮(🔆)演(yǎn )俄国血统的神(🍠)(shén )秘(🦋)女子。