白(📃)(bái )云城是江(jiāng )湖上一个(gè )最神秘(mì )教派的所(suǒ )在地，教(jiāo )规十分严(yán )明，任(rèn )何(🌖)人只要(yà(🤜)o )进城就无(😤)(wú )法出城。
映画『ウルトラマンレオ かなしみのさすらい怪獣(shòu )』
故事发(fā )生(🥕)在二(èr )次(👢)世界大(dà(🗻) )战的末期(qī )，德军(jun1 )在位于希(xī )腊的一个(gè )小岛上修(xiū )建了巨大的潜水(shuǐ )艇油库(🙂)和(hé )秘密(📚)的火箭发(🍺)射基地，尽(jìn )管已是秋后的蚂蚱，但纳(nà )粹们的气(qì )焰依旧嚣(xiāo )张，他(tā )们残酷的(🚎)(de )对待战俘(🕌)(fú )，并强迫(🙄)(pò )他们超(chāo )负荷工作(zuò )。奇诺（特利·萨瓦拉斯(sī ) Telly Savalas 饰）是当(dāng )地的武装组织领(👃)袖，摧毁(huǐ(🐸) )德军在岛(💄)(dǎo )上的一切(qiē )设备是(shì )他的终极(jí )目标，被(bèi )关押在(zài )战俘营中(zhōng )的布莱克(kè(📑) )（大卫·(👂)尼文 David Niven 饰）(👜)，纳特(tè )（理查德(dé )·朗德特依 Richard Roundtree 饰）和多蒂（斯蒂芬妮·鲍尔斯 Stefanie Powers 饰）看(kàn )中了(🍙)这一(yī )点(♍)，他们(men )和奇(🍡)诺(nuò )取得了联(lián )系，试图(tú )暴力夺取(qǔ )岛屿的(de )控制权。
龙蛇混集(jí )的小镇上。汪洪(🕡)(hóng )为一之(😝)首(shǒu )，窝娼(🥚)聚赌，无法无天，而善长“擒拿手”之王进(jìn )勇，不甘(gān )与同流合(hé )污而拒(jù )之。一次(cì(🥈) )，王错手(shǒ(🥊)u )打死汪之(🚇)(zhī )手下，而逃亡上(shàng )海。眼看(kàn )上海之繁华，王决心闯一(yī )番事业，虽然困难重重。但(👞)经一番(fā(💂)n )苦战后，终(🐓)成为(wéi )独一无二(èr )的上海滩(tān )大亨。
庄(zhuāng )森（Bruno Ganz 饰(shì )）和露西(xī )（Isabelle Adjani 伊莎贝(bèi )尔•(🛒)阿佳妮 饰(🍖)）是一对(🐮)生(shēng )活在德国维斯马的恩爱情(qíng )侣，他们(men )的婚事在(zài )即，紧(jǐn )张幸福。但庄森突(tū(🥜) )然接到(dà(⛎)o )消息，居(jū(🆖) )住在城堡(bǎo )中的德古(gǔ )拉伯爵(jué )（Klaus Kinski 克劳斯(sī )•金斯基(jī ) 饰）意欲购买一套房(⌚)子，露西家(🔚)附近刚好(😾)有一间，为了筹备(bèi )婚礼庄森(sēn )欣然前(qián )往。然而(ér )令他难以(yǐ )置信的是(shì )，德古(📲)(gǔ )拉伯爵(🚞)竟(jìng )是传(😦)说中(zhōng )的吸血鬼。庄森(sēn )被他吸去(qù )了鲜血，九死一生逃回家(jiā )中。
Farmer Hwang Man-bok goes into debt to send his oldest son, Yun-ho, to medical school. Man-bok even uses the money he got selling his neighbor's cattle for Yun-ho's tuition. Man-bok's second son Chang-ho goes to jail instead and Man-bok dies from guilt over Chang-ho. Afterwards, Yun-ho becomes a doctor. Pretending to be an orphan, Yun-ho becomes the son-in-law of a wealthy family and runs a hospital. Chang-ho goes to the Middle East in order to find a job. The selfish Yun-ho just supports his mother financially but won't let her come near her grandchildren. Yun-ho's mother leaves the home and wanders the streets. At this time, Chang-ho returns to Korea and finds his mother at the brink of death. He goes to his brother and lets go his rage. Afterwards, their mother is finally happy as she is surrounded by her family.
村族(zú )大王与(🛅)两名手下(🦓)(xià )到香港(📯)贾(jiǎ )氏古董店(diàn )找寻北(běi )京人头骨(gǔ )化石,此事(shì )引发起一(yī )班喜欢(huān )寻宝的(🥁)中(zhōng )外人(🛺)仕加(jiā )入(🌶)争夺,由于传闻北京人头(tóu )骨就存放于此店之中,有人(rén )欲收购此(cǐ )店,又有人(ré(⏩)n )在四处(chù(🦋) )发掘,到底(🐍)(dǐ )北京人头(tóu )骨最后落(luò )于谁手(shǒu )中呢?
清朝(cháo )时，由岳(yuè )飞创立的形意门(mén )一(✋)派勇于(yú(🍜) )抗清，朝廷(🎷)鹰犬任天化（任世官 饰(shì )）武功高强，四(sì )处搜寻形(xíng )意门高手(shǒu )陈鹏飞(fēi )（(🕎)田俊 饰(shì(🖊) )）。僻静(jì(🚖)ng )的青龙镇(zhèn )上，隐(yǐn )姓埋名的(de )陈鹏飞和(hé )孙子陈兴龙（成龙 饰）每(měi )日辛勤练(🤙)功，陈鹏飞(💎)为了(le )避免(🗳)暴露(lù )身份严令(lìng )兴龙惹(rě )是生非。这日，兴(xìng )龙上街赌钱显露(lù )身手拆穿(chuān )庄(📷)家骗局(jú(🛃) )，当地富户(❌)随即(jí )邀请兴龙(lóng )到自己的武馆中担任教头(tóu )。兴龙将武馆改名为形意(yì )门，又(🕥)隐(yǐn )藏幕(👺)后替(tì )馆(🥡)主料(liào )理各方挑(tiāo )战者。青(qīng )龙镇的形(xíng )意门名(míng )声渐起，将任天化(huà )引来，懵然(👙)不知的兴(🏢)龙将(jiāng )任(🍀)天化一行引到家中，任(rèn )天化将陈(chén )鹏飞杀害(hài )。幸有(yǒu )陈鹏飞好(hǎo )友八脚麒(qí(🍅) )麟及时赶(😿)到，兴(xìng )龙(🗜)才免于(yú )一死，自(zì )此兴龙跟随八脚(jiǎo )麒麟苦练(liàn )武功，矢志为爷爷复仇……
“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.