For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence.
美国(guó )内(👹)战(🚥)(zhàn )期间，亚(yà )伯拉(lā )罕·(👧)林(📏)肯总统(tǒ(💳)ng )遇刺的传记片
这(zhè )是史诗(🍘)片(😂)巨匠(jiàng )冈(🛃)斯(sī )的早期作品(🐙)，原版长达(🤗)九(🥇)个(gè )小(xiǎo )时。
This epic was the last in a series of silent sword ‘n sandal spectaculars starring former Genovese dockworker and aging hunk Bartolomeo Pagano. This homely stud spends half the film in a heavy woolen suit, looking more than a dimwitted butcher than a bodybuilder. Fortunately, true to the title, he does go to hell, where he’s assaulted by demons, propositioned by seminude demonettes, and finally stripped to his overample but still fetching flesh. He keeps busy during his sojourn leading a demon revolt and battling a dragon too large to move very much. Director Brignone pulled out all the stops for this comic-Boschian vision of hell, with what looks a cast of thousands of demon-extras spilling off the screen. Fellini claimed Maciste inspired him to become a filmmaker, and the air of amusing depravity, seen to full advantage in the rare restored print that occasionally circulates, would seem to confirm it.
19世纪(jì )，描(🐴)写美与丑(💵)(chǒ(🗃)u )的文(wén )学作品风靡一(yī )时(😍)。“美”之古(gǔ(🌟) )怪(🌕)亮丽，有供(gòng )人欢(huān )愉的脱(🛃)衣舞会(huì(🌤) )所(📴)，有病势严(yán )重的私生子(💊)，有(☕)(yǒu )麻木不(🍮)仁(🎴)的上(shàng )层人(rén )士，有父亲(🏿)之(🏉)(zhī )命的婚(🤞)姻(🥥)，还有(yǒu )未遂企图的凌(lí(🌘)ng )辱(🔃)糟(zāo )蹋，以(♍)及(jí )其他(tā )。“美”之感(gǎn )情丰(🎿)富(📋)，既有美(měi )丽者如真爱，也有(📉)(yǒu )残酷者(🐵)如(🌶)恐惧(jù )与恨。被身处(chù )社(shè(🏐) )会上层的(🍙)爱(🔉)人(rén )无情抛弃之后(hòu )，可(kě(📵) ) 怜的女人(⬜)为(📵)了(le )支付儿子的医药(yào )费，无(🚢)奈旋舞(wǔ(🚈) )于(📌)众(zhòng )人之前，卖弄(nòng )色相(🥧)。受(🌹)迫于(yú )父(⬜)亲(🙂)之命，心早(zǎo )有所属的姑(🍃)娘(🥝)(niáng )不得(dé(⛄) )不面对即将于(yú )一位年逾(🆒)古(🥑)稀者(zhě )结(🔆)为夫妻的残(cán )酷现实。
内战(💿)(zhà(👄)n )宣传(chuán )片，鼓吹农民(mín )向城(👺)市提供面(🥧)包(😢)(bāo )
Outbreak occurs that turns people into cannibal flesh eating monsters that terrorize the city of New York.
Walt Disney's 7th and last retelling of an old British fairytale from the Laugh-O-Gram Studio. Jack is trying to impress Susie by showing her a story how he will win her heart.
科学家、摇滚(gǔn )明星(xī(🍖)ng )、漫画英(🐪)雄(🌵)、地球最后的希(xī )望(wàng )Buckaroo Banzai和(🕙)他的香港(👿)骑(🗿)(qí )士们阻止邪恶(è )的Lord John Whorfin为(wé(🐺)i )首的外星(🍄)人(🦆)回(huí )到PLANET 10，拯救地球的(de )大冒(🏈)险(🏙)。
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