“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.
影(yǐng )片名：《哑(yǎ(🦂) )女》
Tragedy strikes each generation of an extremely unlucky family. First, a father of four is killed by his second son who is then given the death penalty. The eldest son is killed in a battle against Japanese soldiers. The third son becomes a policeman, but is killed by communist sympathisers. The fourth son kills himself during the student revolution of 1960 and his son is imprisoned in the military coup the following year.
手塚(🐽)(zhǒng )治虫(🆒)(chóng )原作のフ(💐)ァンタジーメル(🦅)ヘン『(🐬)ユニコ(🐊)』を原(🔲)作(zuò )とした短(duǎn )編オリジナ(🈴)ルビデ(😩)オアニ(🔨)メーシ(🎂)ョン作(zuò )品。
これ(💳)は歴(lì )史的(🚳)(de )事実に(🦏)よって(🐎)編纂の悲壮な物語。映画(🥒)(huà )の中(zhōng )の(🗒)描(miáo )く(🎻)物(wù )語(💞)は今から四百年前の日(🕶)本の堺(jiè )市(🗒)、大阪(⬛)など。十(👰)六(liù )世紀(jì(🏼) )こそ日本群(🍃)雄割拠、打(📮)ち続く(🔓)戦(zhàn )争(🐳)の「戦国(guó(🛎) )時代(dài )」。当時(shí(🎼) )の最有(➡)力武将(🍘)豊臣秀(🚅)吉は野心満々の人、彼(bǐ )は(😀)織(zhī )田(🍳)信(xìn )長(🛎)の後に(⚪)続いて進めてい(🌰)る日本(běn )を(💻)統一し(♌)たため(🖕)に。
SYNOPSIS
映画(huà )『ウルトラマ(🏨)ンレオ かな(🕔)しみの(😇)さすら(🏕)い怪(guài )獣』
Each night in Paris, hundreds of men and women anonymously use telephone lines that date from the German Occupation and are no longer listed to talk to each other, to love each other. These people, shipwrecked lovers, are dying to love, to escape the abyss of solitude...
在某(mǒu )中学(👫)(xué )任教的理(🤝)科教师(🥩)城户诚(✔)（沢田研(yá(🏑)n )二 饰）看似(🐓)(sì )悠闲(xián )自(😨)在(zài )，但(⛽)(dàn )是心(🛤)中却有浓重(♿)的厌世情绪和反社会倾(👉)向。他白(😬)(bái )天认(🧝)(rèn )真授(shòu )课，晚上则在自己的(😿)寓所进(🤣)行一项(🗒)惊世骇(😵)俗(sú )的研(yán )究。原来(lái )他竟在(🗺)秘密制(🤦)造小型(👨)原子弹(dàn )，为此他不(bú )惜(🎥)袭(xí )击驻(zhù(⏸) )地警(jǐ(🙅)ng )察抢(qiǎ(🔫)ng )夺手枪，更潜入位于茨城(🍻)县(xiàn )东海村(🍏)附近(jì(🕟)n )的核(hé(🛩) )动力(lì )研究(🛣)(jiū )所盗窃原(🎴)料，以获得制(🌸)造原子(📥)弹(dàn )必(🏷)须的钚和(hé(👣) )铈等(děng )重要(yào )元素(sù )。不(📑)久，他的(🤴)作品顺(📓)利完成，城户扬言炸毁(huǐ )国会(🎅)(huì )议事(📍)(shì )堂，并(✨)要挟政(😩)府按照他的指令行(háng )事。与之(👁)曾有一(😶)(yī )面之(🐟)(zhī )缘警(jǐng )察山(shān )下满洲(🀄)男（菅原文(🐖)太 饰）(✴)与(yǔ )这(🈸)个疯狂的(de )盗日(rì )者展(zhǎ(🐻)n )开了(le )连番(fā(🛸)n )纠缠…(🗂)…
映画(🕦)『ウルトラマンレオ か(📮)なしみのさ(🕣)すらい(🌲)怪獣』(🚿)