突围剧情介绍剧情介绍
Loosely based on the notorious Richard Speck murders, this is the grim tale of a disturbed Vietnam vet returning home via Belfast, who invades a house shared by eight nurses and proceeds to terrorize and murder them.
Marco Bellocchio's trenchant VICTORY MARCH is about the madness of military life and its children's power games. It deals with the psychological ravishing of a sensitive and literate young man during the first year in his service in the Italian army. He is abused and shoved about by officers and non-commissioned personnel, and when he has the audacity to become a good soldier, he is shunned by the other trainees. The soldier, Passeri, is played by the talented Michele Placido, who was the youngest brother in THREE BROTHERS and the teacher in FOREVER MARY, both made after this film. Much of the movie treats Passeri's relationship with a strict and possibly psychotic young officer (Franco Nero) and his sluttish young wife, played by French actress Miou-Miou. The movie delves into the relationship between power and sexuality, has some scenes that are rather graphic. But it is another example of Bellocchio's exhilarating talent which can be both savage and humane, satiric and dramatic, and most certainly always fascinating.
乔·迪(🤙)(dí )阿马(mǎ )托早(🔶)期作品。这一个是与(💿)乔治·(🧝)伊斯曼(❕)，是谁写(🏂)(xiě )的电(🏢)影剧(jù )本为(wéi )这个(🏁)(gè )称号(👚)(hào )导演(⌛)(yǎn )开始(❗)工作(zuò(🐏) )的第(dì )一个例子。故(gù )事讲(🦔)述的是(💛)无辜的(🐃)孩子，谁(🔏)是害怕性生活，所以(yǐ )他所(👂)(suǒ )有的(🎗)(de )家人(ré(🤩)n )开始推他(tā )，叫(jiào )女人说服(fú )他。事(👬)情到这(🚦)里来精(⚡)心担任猝死的(⏪)理念和成熟的倒行(🙆)(háng )逆施(🔮)(shī )。比(bǐ(🤪) )较特(tè )别的影(💨)片(piàn )显示(shì )，但它仍(🕞)(réng )然是(🚑)(shì )一个(🏩)黑色荒(📧)诞喜剧(🌠)与幽默的意大利经(👌)典Massachessi的折(😢)衷性(xì(🦌)ng )的看法(🐐)。难得(dé(🥦) )找到(dào )不起(qǐ )眼的(de )标题，但(🖋)(dàn )我们(😝)(men )推荐它(👻)为那些(♌)(xiē )谁喜欢解决他们心目中(📻)最疯狂(🧗)的情况(👗)和幻想。（
该片(piàn )主要(yào )讲述(shù )的(📝)是富家(🥧)(jiā )子高(💴)(gāo )原（邓光(guā(🍸)ng )荣 饰(shì )）与大学生(🍑)李锦文(🚲)（林青(⛄)霞 饰）的恋情(⏮)受到高父(fù )极力(lì(🤐) )阻止(zhǐ(🏭) )，因(yīn )高(🏫)父知道(💱)(dào )李母(🛰)(mǔ )曾开酒馆(guǎn )，认(rè(😤)n )为双方(🥇)家世悬(📐)殊，不能(🕣)婚配。高(🚏)原与锦文不顾一(yī )切，私奔(🏵)(bēn )到乡(🏁)(xiāng )间结(🐁)(jié )婚。二(🧒)人(rén )勤劳工作(zuò )，高(gāo )原且(🔱)半工读(🦗)完(wán )成(🎶)大学课程，但好景不常，高原患上脑(💖)瘤，变成(🤳)(chéng )失明(🦑)(míng )，锦(jǐn )文多(duō(🌥) )方奔走筹(chóu )钱给(gě(🧀)i )他动手(🎉)术(shù )。
人(🛷)(rén )影もまばら(🤚)な別荘地のスナッ(🤕)クを訪(🍂)れた数(💽)人の男(🥟)と女が(♈)巻き起こす、性と(📜)暴力の(🏵)嵐(lán )を(🦋)描(miáo )く(😾)日活バ(🐨)イオレンス・ポルノ。R18+指定(🗄)作品。佐(🐹)治(zhì )乾(🎼)と斎藤(téng )信幸(xìng )による脚(jiǎo )本を(📴)、沢田(🕧)幸(xìng )弘(🎗)が監督した。夏(xià )も過ぎ、避暑客(🔪)もほと(⬅)んどひ(🖲)きあげて人影(🥗)もまばらな別(bié )荘(🎞)地(dì )の(🤐)はずれ(🧜)に、別荘の管(🏧)(guǎn )理事(shì )務所を兼(🏧)ねてい(🦑)る一軒(🔯)のスナ(⭕)ック・(🧕)黒い湖があった。そ(🍷)この主(🥙)人・黒(😜)(hēi )木は(🐠)、3年前(😟)ここのバーテンだったが(🏂)、妻の(💝)京子に(🍔)男と逃げられ、そのあと自分(fè(⬆)n )でこの(🐣)店(diàn )を(🆔)買(mǎi )い取って、じっと京子の帰(🆎)(guī )るの(🏆)を待っ(☔)ていた。激しい(👽)雨が降る日だった(📣)。黒木(mù(🤷) )は、客(🎃)のいない店(dià(🎫)n )内でタバコを喫い(🔟)ながら(🌯)、思い(🚹)に沈ん(📯)でいた(🎢)。その時、一陣の風(🍧)(fēng )が店(👛)(diàn )内に(🔊)舞い込(✝)んでき(🛁)たと思うと、ズブ濡れの(🏉)女が入(🍼)口に立(🚨)っていた。黒木は、一瞬凍(dòng )りつ(😡)くよう(😘)な表情(🐵)で唖(yā )然として女を見つめてい(🚭)た・・(📝)・。
在一(🚽)次世界大战期(🛰)间，有两名西方冒险(🉑)(xiǎn )家来(👵)(lái )到南(🤖)(nán )非，他们(men )想通(😄)过猎(liè )取象(xiàng )牙，来(🗞)谋取巨(🚈)(jù )大的(🗒)利润．(🍺)在他们(🙁)进行这种肮脏的交易的过(💕)程中(zhō(🚫)ng )，与(yǔ )当(👤)地(dì )的(🙃)德(dé )国军队有(yǒu )一连(lián )串(🏵)的冲突(📼)(tū )，以(yǐ(🎈) )至到了水火不容的地步，最后二人(😡)合力炸(〰)毁了德(🍓)(dé )国的战舰(jiàn )作为(wéi )报复。
拍(pāi )摄(🎏)过(guò )程(👕)
"In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide)