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剧情(qíng )大(dà )致为江明扮演(yǎn )的赌徒阿旺在归途中巧遇南茜燕扮(bàn )演的三(🎛)娘(😼)“卖(🏵)(mà(🔖)i )身(🏕)葬(🌕)父(🚘)”，刚(gāng )好赢了钱的(de )阿(ā(🛡) )旺(✉)於(🤐)是(🔴)慷(😿)慨(🗿)地(dì )给了她五十两银子。只是一时冲动(dòng )阿旺并无趁(chèn )人(rén )之危占便宜(yí )的(de )想法，但三(sān )娘(niáng )知恩(🕜)图(🎿)报(🚎)，宁(🐿)(ní(🥃)ng )愿(🛃)跟(🍑)著他吃苦流浪，甚至在(🍼)阿(😬)旺(🍚)把(👫)她(🥙)当(🌁)作赌码(mǎ )输(shū )掉後，变作(zuò )鬼(guǐ )的她依然记(jì )得(dé )阿旺的恩情(qíng )，寄望投胎後要再嫁给他。然而赌性难(😲)改(😺)的(🙇)阿(🎀)旺(🐗)把(🎿)(bǎ(🤨) )经营的绸缎(duàn )生(shēng )意(❎)也(🏖)再(🛐)次(💽)输(🐥)(shū )去(qù )，并受到赌(dǔ )场(chǎng )老板的百般作(zuò )贱，最终才决心断绝赌毒，狠下心(xīn )自斩手指。这(zhè )些，足以作(zuò(📏) )为(🚺)(wé(🏂)i )生(🍇)活(🌅)中(👷)赌(❇)徒(tú )的(de )“照妖镜”，极为生(🎺)动(🧖)有(🥚)力(💢)地(🚷)为(🍌)嗜赌的人敲响警(jǐng )钟。编导并(bìng )没(méi )有安排生硬(yìng )的(de )说教，甚至(zhì )穿(chuān )插了不少笑(xiào )料(liào )，娱乐效果不(🗿)俗(🖱)。 Bush Mama powerfully captures the anger of America when the dream envisioned by Martin Luther King met with violent suppression and the stark reality of inner city neglect exposed by the uprising in Watts in 1965. Haile Gerima's iconic film shows the Black community under siege, harassed and starved of opportunities. It is a powerful portrait of the political awakening of a mother struggling to survive on welfare and bring up her daughter. Deftly combining fiction with documentary, including footage of the LAPD questioning Gerima and his crew during filming, the film draws on a range of topical events from police killings, treatment of Vietnam veterans to the militant liberation movement in Africa. The mesmerising performance of Barbara O. Jones shows the protagonists shift from passivity to empowerment. The film vividly conjures her interior world, a fractured reality filtered by memories and anxieties as she moves towards political consciousness following the arrest of her husband for a crime he didn't commit. An egg desperately tries to prevent being hatched. 1. Siberian Khatru This adaptation of a story by Knut Hamsun is about the impossible love between miller’(🚚)s son Johannes and Victoria, the daughter of a manor house owner. Created as a co-production with ZDF, Widerberg adapted the original with fidelity to each and every detail while placing his own emphasis along the way. The translation of the dialogue into English –(💙) for production technical reasons –(♿) heightens the artificiality of the film, which can also be seen as creating an ironic distance to the romantic material. VICTORIA exhibits numerous similarities to ELVIRA MADIGAN, but remains more reserved, calmer, more autumnal. The film’(🚪)s poor reception was one of the reasons why Widerberg was only able to make three more features in his final 18 years of life. 1979年9月8日公開（東宝）、(📠)上(🌞)映(🥤)時(🏟)間(🤴)(jiān )88分(fèn ) “Jon Jost’s Chameleon was probably the happiest instance of a mixed marriage at the Festival (Edinburgh 1979): combining a freak, trippy (in fact almost Corman-esque) saga of a dope-dealer and all-round hustler with an abstract distillation of patterns of color and light. The place of the latter in the film is both somewhere within the drug-laced nimbus of its title character, Terry (Bob Glaudini), and somewhere outside its ironic description of the rampant merchandising of all other human activities. In a way, this abstract element almost serves as a secondary narrative, or at least becomes the ‘point’ of the film. At the beginning, Terry is seen hustling a painter of just such abstract designs to come up with six imitations of another painter which he can unload on the art market. With some ‘persuasion’, Terry overcomes the painter’s reluctance, and at the end of the film returns to collect his merchandise. But the rolls of paper his is given turn out to be blank, and the painter defiantly protests, ‘My life is color, form, the shape of things...’ before Terry knocks him down and leaves him lying in a pool of spilled colors that returns us to the abstracts which were shown in detail in the opening shots. It is probably not too deterministic a reading to see Jost as the painter and the blank sheets as the conventional movie which he has refused to provide for audience consumption. Based on the actual 11-day disappearance of famed mystery writer Agatha Christie in 1926, the film fictionalizes her whereabouts during that time. When her husband announces that he is leaving her for another woman, Christie creates a mystery out of her own life by hiding in a Harrogate hotel and plotting revenge on her spouse while all of England searches for her. The reporter who finds Christie tries to foil her plan and finally falls in love with her. At a Catholic public school, Benjamin Stanfield is tired of being the teacher's pet and decides to play a practical joke on his form master Father Goddard. In confession, Stanfield tells Goddard that he has accidentally murdered his friend Blakey and buried him in the forest. When Goddard investigates the matter, he finds a buried scarecrow. Goddard is outraged, but, due to the seal of confession, he knows he cannot expel Stanfield. Shortly after, Stanfield once again enters the confession booth, telling Goddard that what before was a practical joke, he has now made happen. In disbelief, Goddard once again goes to the forest to investigate the matter. This time, he discovers Blakey's dead body. The plot soon thickens as Stanfield's fellow student Arthur Dyson mysteriously disappears.