铁道游击队2全集剧情介绍
A scientist creates a mechanical man but thieves steal it and send it out to kill and destroy a city. The only way to stop the creature is by creating another mechanical man to destroy it. This Italian horror film seems to have had an influence on Fritz Lang's Metropolis, at least in the look of the robots. It's hard to really judge the film since so much of it is missing but they did a good job at taking the current length and adding enough background so that we know what's going on.
In Nerven, writer-director-producer Robert Reinert tried to capture the "nervous epidemic" caused by war and misery which "drives people mad". This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s.
戲(xì )名(míng )難免(🕊)(miǎn )使(🐾)(shǐ )人(👽)聯想(📅)到食色「(🤒)性」也，但慾望(wàng )的(de )對象？對不起，卻(💱)是個(🦍)男兒(🆚)。美(mě(🆑)i )國(guó )蠔業(🙌)(yè )大王有個刁蠻女，一天覺得(dé )自(zì(🎓) )己非(🖼)(fēi )要(🍬)嫁人不可(🚣)，被媒(🔕)人相中的(de )落(luò )難歐(ōu )洲王子派出心(🅿)腹試(✊)探虛(🤭)實，蠔(háo )女(📭)一(yī(🔖) )聲多謝馬上拉去註冊結婚，當(dāng )晚大(😡)(dà )排(🌡)筵席(⛵)，酒飽飯醉(🏔)後只(🛀)差沒(méi )半(bàn )點洞(dòng )房(fáng )動機。直(⏳)至窮(🌴)王子(🌟)真人(⛎)現(xiàn )眼前(🥝)，慾(yù(🐸) )望傾瀉得一發不可收拾。女性情(💆)(qíng )慾(🛃)(yù )在(🙃)劉別(📻)謙筆下從(🏤)來都很坦然和直(zhí )接(jiē )，蠔(háo )女這荷(🗻)里活(🧚)女性(🏞)原型，令後(hòu )來(🌈)(lái )者亦(yì )甘拜下風。揶揄資本家與消(🎅)(xiāo )費(🆕)(fèi )社(✖)會(huì )的大(🐃)場面(👢)可觀亦抵死，筆觸(chù )細(xì )膩幽(yōu )默。劉(🕵)別謙(🌤)第二(🌕)部長片，是(🅰)(shì )他(🚬)(tā )打造(zào )品牌之作，驚人的成熟導技(👿)(jì )令(🚃)(lìng )人(🏀)擊(jī )節(jiē(📏) )復感(🍃)動。
In order to allow another servant to go home to be with her children, Nastya agrees to serve in her place, as a maid in the household in which Nastya's grandfather is a porter. Soon afterwards, the woman who owns the house goes on a trip, leaving her son Pavel at home. Pavel is engaged to Ellen, but Ellen flirts openly with other men. Nastya and the servants quickly realize that Ellen is having an ongoing romantic affair with Baron von Rehren. This puts the servants, and especially the sensitive Nastya, in a painfully uncomfortable position.
萨曼莎和女儿布(bù )莱克邀(yā(😍)o )请(qǐ(🧜)ng )了一(💎)名来(🍩)自英国的(🌶)外国留学生克(kè )洛(luò )伊到她们的加(⬅)利福(🕙)尼亚(🖨)家。两个(gè )女(nǚ(🤳) )孩很(hěn )快成为亲密的朋友, 但萨曼莎(⏭)(shā )的(🕔)(de )不安(😜)(ān )开始于(🕎)布莱(🎲)克的男朋友可疑(yí )的(de )死亡(wáng )。萨曼莎(🧗)为了(🏸)证明(🛹)女儿的清(💓)(qīng )白(🛶)(bái ), 发现(xiàn )克洛伊的终极计划是 "收养(🚕)" 萨(sà(🌔) )曼(mà(⏩)n )莎, 她(tā )是(😙) "妈妈(⛱) "。
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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.