马(📰)克（科斯塔斯(🔧)·曼(màn )迪勒 Costas Mandylor 饰(⏳)）自(zì )幼就想成为(wéi )一名糕点师，可是，他的(de )家人(🔁)显然并不(bú )支(🖍)持这一(yī )幼稚(✍)的梦想。当叔叔(🏣)决定(dìng )把(bǎ )家(🌗)里的糕点(diǎn )店(🖲)卖掉时，马克知(🕋)道(🛣)自(zì )己的梦(🗣)想(⛵)正在(zài )离自(🌘)己(✏)越来(lái )越远(💱)。一(🤲)次偶(ǒu )然之(🦃)中(🌁)，马(mǎ )克尝到(🍶)了(🐓)一(yī )种名为巴(🐨)洛(🎿)(luò )兹(zī )巧克(💸)力(⛱)蛋糕(gāo )的甜(⛪)点，他的梦想再(🍆)次(cì )被融化在(♓)口中(zhōng )的美味(⛹)给点(diǎn )燃了，他决定(dìng )放弃现有(yǒu )的(de )一切，去学(xué(🕝) )习制作这种蛋(🔫)(dàn )糕。
Not as good as I expected
上海电(dià(👖)n )影制片厂1958年摄(🐂)(shè )制，著名(míng )导(🍺)演孙瑜执导(dǎ(📅)o )，魏鹤龄主(zhǔ )演(🕳)(yǎ(🌟)n )；其主要剧(👖)(jù(🕵) )情为：影片(🚴)选(❔)择了造桥(qiá(😤)o )、(🕜)建庙、角楼(🤱)(ló(♊)u )三个故事贯(🐱)(guà(🍆)n )串而成，着重(chó(🏑)ng )表(🦎)现了春(chūn )秋(💤)(qiū(🐍) )战国时代的(🍗)(de )巧匠鲁班是(shì(📂) )劳(láo )动人民勤(🎃)劳(láo )智慧的化(⛰)身，证明了不(bú )平凡的奇迹都(dōu )是从平凡的(de )劳动(🌩)中创造出(chū )来(🏡)的。
佐(zuǒ )汉(hàn )·(🚻)德沃（亚(yà )当(🌀)·桑德勒 Adam Sandler 饰(shì(🌘) )）是一名供(gò(🐩)ng )职于以色列情(🍏)(qí(👊)ng )报机关摩(mó(🚟) )萨(🚏)德的特工人(🕧)(ré(📳)n )员，他身手(shǒ(🔏)u )矫(⬜)(jiǎo )健，力大无(📣)(wú(💆) )穷，而且天赋(🚮)异(🤟)秉。闲(xián )暇时沟(😟)女(✝)享乐(lè )，优哉(😌)游(🌱)哉(zāi )；接到(🎏)任务时(shí )，便披(⚫)挂(guà )上(shàng )阵与(👨)来自巴(bā )勒斯(🌐)坦的恐(kǒng )怖(bù )分子展开惊(jīng )险刺激的对决。他干掉(diào )的对手不(🛂)计其(qí )数，俨然(🙊)一(yī )个新时代(🥄)的救(jiù )世主。但(🕛)(dàn )是(shì )谁都想(✝)不到(dào )，这个阳(🛩)刚(🏹)味(wèi )儿十足(📈)的(🐬)爷(yé )们儿心(🗡)中(🥐)竟然(rán )有着(⛽)当(🌚)美(měi )发师的(⚾)梦(🌋)想。他早已厌(🔚)倦(🗽)(juàn )了(le )打打杀杀(🍸)的(de )生活，渴望为(❎)了(🐟)自己的(de )理想(🚵)而努力。
After the old-books shop closes, portraits of the Strumpet, Death, and the Devil come to life and amuse themselves by reading stories--about themselves, of course, in various guises and eras. Four of the stories are literary horror stories (one by Poe, one by R. L. Stevenson), and the last one is a comedy involving a fake haunting.
九年前(💞)一个(gè )风雨交(🌻)加的夜(yè )晚，艺(🧞)术(shù )学(xué )院的学生卡(kǎ )特琳到康拉(lā )德(dé )夫妇家作临(lín )时保(🏥)姆，照看他们的(🍮)男(nán )婴塞巴斯(🍁)蒂安(ān )。当晚，窃(🆎)(qiè )贼布鲁纳闯(😝)入(rù )康拉德家(🕚)(jiā )行(háng )窃，卡特(🥂)琳(🆘)(lín )与他进行(🏻)了(💋)激(jī )烈的搏(📄)斗(💋)。布鲁纳在打(🤳)伤(📹)(shāng )卡特琳后(🗽)(hò(😸)u )仓皇逃走，卡(kǎ(📪) )特琳惊愕地(dì(🍖) )发(⏰)(fā )现，塞巴斯(🎿)(sī )蒂安已经在(💕)襁褓中窒息(xī(😙) )而亡。于是，布鲁(🍄)纳被指(zhǐ )控为凶手，锒(láng )铛入狱。九年后，布鲁(lǔ )纳被假释出(chū )狱(🍽)(yù )。为了对这(zhè(😧) )个危险的犯人(🌜)进行控制(zhì )，警(🅰)方给他安(ān )装(🗯)了高科技(jì )的(👲)电子脚镣，以便(👌)随(🔦)时(shí )监(jiān )视(🍧)他(🌀)的行踪(zōng )。不(💕)想(👃)狡猾的(de )布鲁(🏋)纳(🏜)破解(jiě )了密(⤵)码(😾)，摆脱(tuō )了警方(🤪)的(de )监视，并开始(🛒)(shǐ(👎) )了疯狂的报(🐝)(bà(🎈)o )复行动——(🍍)寻(xún )找各种机(🛶)会(huì )置卡特琳(🅿)于(yú )死地。卡特琳(lín )不明就里，找到康拉德先(xiān )生询问原(yuán )由。谁(😈)知康拉(lā )德竟(😻)然出语(yǔ )惊(jī(🥟)ng )人：他的孩(há(⏹)i )子并非死于布(🌗)鲁纳之手(shǒu )，卡(🥛)特琳当年(nián )冤(💈)枉(😃)了布鲁(lǔ )纳(♌)。这(🏘)使卡特(tè )琳(👆)万(🤡)分惊(jīng )讶(yà(💲) )。迟(😙)到的事(shì )实(💻)真(🥔)相并不能(néng )帮(🌗)卡特琳摆(bǎi )脱(♋)困(💐)境，她的(de )噩梦(🐝)仍(🎎)在(zài )继续…(🐷)…
Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran.