萨(👁)比(bǐ )娜(🥃)(nà )（(🏂)Giovanna Mezzogiorno 乔(qiáo )凡(🎩)娜•(📂)梅佐乔(🐔)尔诺(🌨) 饰）和(💟)弗(fú(🔀) )朗科(kē(🧡) )（Alessio Boni 阿(🎥)莱(lái )索(♟)•邦(🀄)尼 饰）(🎐)是一(😖)对情侣，两人(rén )同为(wéi )演(yǎn )员。对于工作和男友萨比娜都很(hěn )满意(yì )，这让(ràng )她的生活备感惬意。但这一(yī )切很(hěn )快被打(dǎ )乱(🐇)了，夜晚的噩(🚈)梦惊扰了萨(😳)(sà )比娜(nà )的(📆)思绪(xù )，同时(🎀)她发现自己(🛌)已怀有身孕(🚢)。
Youthful tough Johnny Stone has fallen under the influence of petty crook Frank Wilson, who involves him and robbery and murder using his sister's boyfriend's stolen gun
童年(🐠)(nián )时(shí(🐒) )，因(yī(🌺)n )目睹父(🍨)母被(🖊)恶魔杀(😋)害的(🐅)场面(mià(🖥)n )而失(🕟)(shī )声(shē(🍼)ng )的美(🙀)(měi )砂（(😸)柴咲(🈷)コウ 柴(🥫)崎幸(🍐) 饰），多(🥣)年(niá(🎡)n )来和哥(gē )哥志音（Sugizo 饰）相依为命。美(měi )砂为(wéi )被童年(nián )梦魇所困扰的哥哥撰写童话和诗(shī )歌，志(zhì )音则(zé )为无法出声的妹(🚧)妹谱写美妙(👗)(miào )的歌(gē )曲(🐰)(qǔ )，兄(xiōng )妹俩(💼)的生活平淡(🕜)而充实。然(rá(😷)n )而两(liǎng )人平(🙄)淡(dà(😴)n )微薄的(📼)幸福(🐾)却遭到(🎂)周围(🙇)人的猜(🕋)忌(jì(⬛) )和诽(fě(🥀)i )谤(bà(🔴)ng )，甚(shèn )至(🔮)门上(😜)都被写(🤓)了“变(🦇)态兄妹(🍰)(mèi )”的(🎗)(de )字(zì )样(💾)。某夜(🏪)一场大火夺去了美砂的(de )性命(mìng )，志音(yīn )从此颓废沉沦。
人们在河边(biān )发现(xiàn )了一个(gè )年轻人的头盖骨，哈尔曼供认，他用(yòng )咬(🚗)(yǎo )断颈(jǐng )动(📷)脉的方法杀(🌛)害了24名青少(📹)年(nián )，并(bìng )将(⭐)(jiāng )他们(men )的尸(😓)体肢解、剁(🥝)碎后(🗾)投入了(🆑)(le )莱茵(🏯)(yīn )河。他(🌪)(tā )之(🐇)所以咬(🦎)杀青(🥫)少年，是(👍)由于(➗)长期(qī(❄) )性障(🤡)(zhàng )碍(à(🐈)i )所致(👎)(zhì )，是陶(💩)醉于(🐥)同性恋(🤱)时的(👥)发泄(xiè )行为(💢)(wéi )。他的(de )行为激起众怒，在庭审时，有200余(yú )人出庭(tíng )作证。
两宗凶杀案的死者皆(jiē )如电(diàn )影情节(jiē )般被杀，凶手可能(📧)是个疯狂电(🐾)影(yǐng )迷，女(nǚ(🐷) )探员(yuán )芬向(😪)上司Chow要求找(🐡)心理学家谢(🚜)(xiè )博士(shì )协(➰)(xié )助(🌳)破(pò )案(🎟)。谢是(🕞)失明人(⏺)士，在(🏈)调查(chá(📁) )过程(🎈)(chéng )中指(🆕)出(chū(🐳) )芬有不(🈵)愉快(🚋)的童年(🤪)，以至(🏽)现在有(🏁)(yǒu )暴(🙃)力(lì )倾(🙉)(qīng )向(💔)；芬亦不甘(🔐)被看穿心态，反指(zhǐ )谢独(dú )困(kùn )家中(zhōng )，与外界隔绝，是没有自信(xìn )的表(biǎo )现，二(èr )人不欢而散。芬将调查范围(wéi )收(💅)窄(zhǎi )于导演(🍍)(yǎn )Tommy、制片华(🕶)姐、编剧当(🍈)当、女演员(😕)(yuán )刘晴(qíng )和(⛹)(hé )影迷(mí )初(👏)仔身(♋)上
Gloriously self-aggrandizing moviemaker Tom Palazzolo made an awesome feature debut with Caligari’s Cure. If you know your Cabinet of Dr. Caligari, you’(🍘)ll remember that the orgasm of the 1919 German movie revealed that the ostensive villain had been really a psychiatrist, and the moderate hero a certified looney. Palazzolo uses generous chunks of Caligari, evaluating the expressionistic opposites of the previous film’s director Robert Wiene with contemporary artistic developments. It’(🦓)s a fairly obvious stylistic workout, but it’s simply because entertaining as Palazzolo’s hallucinatory quick topics. Caligari’(⏮)s Cure would make a felicitous double feature with the 1988 shorts set Palazzolo’s Chicago.