In all likelihood, a one-off revival of Wakayama's 11 film GOKUDO (SCOUNDREL) series, which originally finish in 1974.
이백호와 효정의(🕜) 두딸 중에(🏾)서 언니 추하는 음(🌛)악에 소질(🌆)이 있고 조용하나(🔜) 추운은 말(📄)괄량이다. 백호는 추하(🚬)가 불(👠)치병에 걸렸기 때문에(🥫) 편애(🔗)한다. 함께 자(💐)란 자량은(😸) 추하를 좋아하고(🦉) 추운은 자(🦂)량을 좋아하나 추(🚿)하는 맹아(🚧)학교 선생(🙌)인 국휘(🏐)를 사귀고(😯) 맹아를 가(🎢)르치기(🎒)로 한다. 추(🖲)하는 자신(😓)의 병을(👝) 알고 국휘(♈) 곁을 떠나(😟)나 설악산에서 둘(➗)은 다시 재(🌹)회하게 된다. 그러(🀄)나 국휘의(🔥) 품에서 추하는 숨(😞)을 거둔다(🍴).
朝廷密史、南拳沈英伟(wě(🥌)i )（王(wáng )道）为了追(zhuī(🦕) )查大(😢)(dà )内失窃的(🕳)100万两库(kù(🎙) )银，追踪到韩国(guó(🍢) )，与为亲人(👇)报仇(chóu )的北腿萧(🖱)逸飞（刘(🈶)忠良）联(🌼)手击(jī(👓) )毙潜逃到(📓)韩国的铁(🕌)血(xuè )银(⏯)狐（黄正(👂)利）。
本片(👯)是费(fè(⛔)i )拉里(lǐ )对(🕗)现代社会(😴)(huì )文明(míng )和小家(🏂)庭中男子(🔓)(zǐ )的作用的最新(✔)探(tàn )讨的(🧖)成果。工程(chéng )师热(😰)拉尔德被(🏙)妻(qī )子抛弃了，并把(bǎ )小儿(🎲)(ér )子皮耶罗特留给(gě(🙉)i )了他(➿)。当工(gōng )厂宣(☔)(xuān )布休假(📯)时，他把(bǎ )保姆当(🙎)作情人；(🌠)在短短的时间内(🙇)(nèi )，他重新(🎀)经受了(le )令(🎤)人伤脑(🐍)筋的以(yǐ(🧚) )两性斗争(⛷)为特点(👅)(diǎn )的两人(🖊)关系发展(👚)的全(quá(🏪)n )过程。热拉(🏥)尔德(dé )完(🕷)全被以性(xìng )交为(🚉)(wéi )表现的(🔌)男性(xìng )意识(shí )所(⏰)支配。当他(🐺)同(tóng )情人的关系(🎟)发生(shēng )危(🎍)机时，他的情(qíng )人却和他的(🏠)前妻(qī )成了好朋友。他(🔆)(tā )出(🧤)于(yú )抗议和(🎼)绝望用一(🔟)(yī )把厨房用的(de )电(🍏)锯(jù )把自(🐤)己的生(shēng )殖器(qì(🕎) )割掉了。这(🎭)个可(kě )以(🚄)作为模(🚷)式的事(shì(🔝) )件的大部(🏮)分 (就象(💮)(xiàng )在戏剧(🙄)舞台上一(💐)(yī )样)发(🤡)生在一套(🤤)高(gāo )层小(➰)公寓里。费拉里(lǐ(🍻) )批判了他(🧙)的主人(rén )公的大(😤)男子(zǐ )主(🐄)义(yì )，同时也表(biǎ(♑)o )现了(le )由于(💤)生活(工作，住宅，千篇一律(lǜ(💏) )的生活秩序，孤(gū )独寂(➖)寞)造(🌗)成的绝(jué )望和灰心丧(⛑)气。如果(guǒ )说影片(💼)留下了一(🌉)(yī )种相互矛盾(dù(🚟)n )的印(yìn )象(🥜)，那是由(yó(🚂)u )于影(yǐ(💨)ng )片以独特(🥀)的方式(shì(😛) )提出了(🚕)问题：这(👦)(zhè )个男人(😃)是他的(🔅)行(háng )为的(😞)牺牲品，也(🕯)(yě )是妇女全面反(💃)抗(kàng )的牺(🤶)牲品；费拉里在(🏤)(zài )这部影(🥘)片中同样(yàng )使用(🐔)了多种(zhǒ(🍨)ng )手法(fǎ )，而且通过(guò )一些(xiē(🌵) )“煽动性"的细节(jiē )和效(🤟)果来(⚡)吸引更(gèng )多的观众。
这(😙)是(shì )民国十六间(🕧)发生(shēng )在(😜)湘赣边界一个(gè(🏻) )关隘(ài )上(🍳)的感人故(🏬)事。盘据(💝)某县的(de )军(🐀)阀(fá )郭帅(🎶)，以密(mì(🛶) )笺一(yī )封(🚂)交付狼牙(🌆)口哈(hā(✏) )司令派来(🖇)的使者(zhě(🌉) )刘大昌，刘大昌(chā(📤)ng )表面上是(🛌)哈司令(lìng )的心腹(🥐)，事实上(shà(😬)ng )却是革命同志，他(🌥)正(zhèng )与革(😑)命军先遗人(rén )员马一鸣进(🌏)(jìn )行联(lián )络时，不幸(xì(👥)ng )遇刺(🤘)(cì )身亡。马一鸣机(jī )制(🌗)枪杀凶手，取(qǔ )得(🍜)密笺。北伐(😖)军(jun1 )即将挥师北上(🛍)，马一鸣奉(😧)命前导(dǎ(👪)o )，但狼牙(👙)口形势险(🌈)要(yào )，又有(😒)哈司(sī(〰) )令拥(yōng )兵(👷)盘据，为(wé(🔌)i )使命(mì(🎹)ng )军顺利通(📆)过，乃(nǎi )加(👘)入保盐队，只(zhī )身(📎)随队深入(🧒)狼牙(yá )口。
Tapasya - meaning penance is the story of Indu, eldest child of Prof Chandrakant Sinha takes on the responsibility of rearing her younger siblings, Vinod, Madhu and the youngest sister. Indu is the breadwinner of the family and acts as both father and mother to the children. The family doctor, young Sagar Verma who treated Chandrakant through his terminal illness falls in love with Indu, which is reciprocated. Being the only son of his widowed mother brings expectations Sagar's wife is expected to take on the responsibility of managing the affairs of their palatial home, giving up her siblings and her parental home. This is not possible for Indu, who is willing to sacrifice her own love and happiness at the altar of responsibility to her brother and sisters. It is only when the children are settled in their own homes that Indu can think for herself. Sagar in the meantime has handed over his clinic to a locum and left without any forwarding address or informing anyone of his return date. Now that Indu is free, where is Sagar? Has he also given up on Indu as her siblings have and left her alone in her twilight years? Does Indu have any happiness in store for her, or is her life a penance (Tapasya) at the altar of responsibility.
由布莱(🌍)恩·德·(🥈)帕尔马（Brian De Palma）指导(🏫)， 保罗·施(🚯)拉德(dé )（Paul Schrader）编剧的《迷(mí )情(😜)记》（Obsession / 1976）是一(yī )部文艺(👂)气息(🚢)(xī )相当(dāng )浓厚的悬疑(🥟)片。帕尔马导演一(🔛)反(fǎn )常态(🥔)，并没有在(zài )影片(💑)中过分卖(🗄)弄(nòng )血腥(🥢)暴力，而(🐪)是(shì )以细(🔮)腻的手法(🎡)把一个(🏁)(gè )奇异的(📠)故事(shì )拍(💦)得(dé )如(🆗)梦如幻，韵(🧘)味(wèi )十足(💐)。
如诗田园(yuán )般的(🍧)纯洁小品(🐐)