电视剧沉默与谎言

诺艾(🚛)(ài )米（(🎡)阿妮(nī )亚·布克斯(👽)(sī )坦 Ania Bukstein 饰(shì(😤) )）是一名(míng )神学(🤤)博士，为了(🐜)(le )前往(wǎng )一所(suǒ )犹(🐋)太女子学(🦕)(xué )院深(🎏)造，她说(shuō )服(💮)了父亲(🛺)，将自(zì )己的(de )婚期(qī(🥣) )推迟了(🏷)一年。诺艾米热爱(à(🎨)i )自己所(💵)学的专业(yè )，强(qiáng )大(⚾)的求知欲(🔮)和好奇心让她早(🗝)已(yǐ )经无(🙎)法满足(🏇)于那(nà )些轻(🕘)(qīng )易就(🔄)可以从(🍐)书本中得来(🚉)的(de )知识(🤛)(shí )。 小(xiǎo )四川（黄凯(🐕)(kǎi ) 饰）(🌄)来上海打工，被风满(📞)楼老(lǎo )板(🐻)王(wáng )小姐(jiě )（许(🚹)晓丹 饰(shì(🤒) )）看(kàn )中，从此(cǐ )，他成了风(🚺)满楼(ló(👿)u )的茶(chá )房。风(🔕)满楼的(🚋)另(lìng )一个老板（马(🌉)(mǎ )仑 饰(🚇)）姓苏，宁(níng )波人(ré(💡)n )，是(shì )个(🐆)地道的暴发户。负责(👆)收(shōu )银的(🤾)是陕西妹小(xiǎo )丫(🛢)子(zǐ )（马(🐧)伊琍 饰(🐤)），她的理想(🔋)是将(jiā(👒)ng )来有了(💅)钱在上海(hǎ(🎻)i )安家(jiā(🕺) )。小四川对工作认真(⛴)负责(zé(🎗) )，但(dàn )天天(tiān )和他作(🏎)对的(de )是无(♈)(wú )处不在的玻璃(🎥)门，由于每(🗼)(měi )次服(💖)(fú )务一(yī )溜小跑，看(🛑)(kàn )似透(🤮)(tòu )明的玻璃(⌚)(lí )让他(📀)一再吃苦头(tóu )，不(bú(🌻) )光碰(pè(🆔)ng )破了鼻子，还吃了王(😪)小姐(jiě(🍽) )耳光，有一次连(lián )小(👟)丫(yā )子也(🎓)(yě )受了牵连。连续(🍓)碰壁让小(❓)(xiǎo )四川(🚈)提高了警惕(⬜)(tì )，但(dà(🌈)n )他发现(➿)人与人之间(🗿)远比透(🗿)明的(de )玻璃复杂得多(😑)，你不(bú(🍱) )定什么时间就突然(🔅)撞上。风满(🌘)(mǎn )楼日(rì )复一日(🤭)上演(yǎn )着(😣)各(gè )种(🕋)各样的市井人生，最(📺)后(hòu )王(🐆)小(xiǎo )姐走(zǒ(🥄)u )了，小丫(📆)子(zǐ )成了(le )老板娘。原(🏧)来苏老(🔌)板离了(le )婚...... 故(gù )事发(🕊)(fā )生在(Ⓜ)1998年的夏(xià )天，张成文(🍊)（潘粤明(🐶) 饰）的父(fù )亲张(🔢)(zhāng )子明(mí(🕎)ng )（李幼(💐)斌 饰）身为(🏀)军长，自(❔)然希望(🖱)儿子能(néng )够(🐼)子(zǐ )承(📻)父业，为国家卖力，然(🍍)而，张成(⭕)文却并不这(zhè )么想(🦉)(xiǎng )，他满门(💣)心思想要转业，去(🥫)追(zhuī )求个(🛹)(gè )人的(🐧)荣耀和(hé )梦想(xiǎng )，父(🍱)子两人(🐘)为此僵持不(😣)下(xià )，气(🕑)(qì )氛十(shí )分紧张。那(⏮)(nà )一边(💟)(biān )，林为群(qún )（高天(💲) 饰）虽(🦉)然(rán )身为(wéi )富家(jiā(🍏) )子弟，却毅(⏭)(yì )然决然穿上军(👉)(jun1 )装，被编入(🛢)了红(hó(🎹)ng )军团(tuán )四连(😀)(lián )。 乔治(🌒)娅（妮(🥠)娅•瓦达拉(🛑)(lā )斯 Nia Vardalos饰(🛩)）是一位希(xī )腊裔(🚈)(yì )美国(⛷)人，是一位导游，常年(🏸)带(dài )着游(🔣)客在希腊的(de )名胜(⌛)(shèng )古迹间(💎)穿行。日(🛳)复一日的(de )重复(fù )着(🔓)旅(lǚ )行(🏪)介绍，经(jīng )过(👭)的(de )地方(🌤)也走过太多遍，还有(😿)(yǒu )来自(🎎)(zì )不同(tóng )文化背景(🐋)的(de )游客(🍀)(kè )们，这一(yī )切都让(🐷)乔治娅头(🍒)(tóu )疼不(bú )已。于是(🦄)，乔治娅萌(🛩)生了辞(🖍)职(zhí )的冲动(🎌)，想彻底(👁)(dǐ )离开(📍)(kāi )眼前(qián )的(🆎)生活。无(🏢)奈，老板还是(shì )把一(⏫)个新旅(👰)游团(tuán )交给(gěi )了乔(🌇)治娅，起初(🐋)一切如她原来(lá(🔏)i )经历的没(🔍)有什么(😐)(me )不同(tóng )，直至一名旅(👐)客厄夫(🎑)（理(lǐ )查德(🏕)(dé )•德(🛎)(dé )莱福斯 Richard Dreyfuss 饰）的出(📷)(chū )现，这(🎪)个形貌普通的人却(🌩)(què )总是(💾)(shì )快乐(lè )自在的生(🏵)活(huó )。乔(qiá(👟)o )治娅慢慢(màn )被感(🤚)染，开始换(💃)(huàn )一种(👐)(zhǒng )眼光(guāng )去(🔦)看自己(🌿)的工作和生活，不仅(🗜)重拾工(🍱)作的(de )乐趣(qù )，并注意(🎗)到那个(🈳)一直在他身边(biān )默(🎊)默无闻的(🕓)司机(jī )波皮(pí )（(🖨)亚历克西(📄)斯•乔(🔰)奇奥里斯 Alexis Georgoulis饰(shì )），一(🚺)切悄然(🤽)发(fā )生变(bià(🦆)n )化……(😢) 又名Hercules in the Center of the Earth. Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran.