唐朝禁宮秘史
太宗駕崩暫無(wú)內(nèi)容晚年武媚入宮，很得太宗寵幸，武媚又與太子李治互生情愫，太宗目睹兩人偷情、公元六四九年，太宗皇帝暫無(wú)內(nèi)容暫無(wú)內(nèi)容武媚娘氣憤而終。駕崩后，太子李治繼位，是為高宗。李治與武媚早結(jié)私情，太宗死后，李治將武媚接回自己宮中，高宗性格懦弱，武媚則勤奮主動(dòng)，高宗更樂(lè)于武媚代勞參政，為暫無(wú)內(nèi)容鏟除王后及異己，武媚親手殺死女兒，嫁禍與之，因而實(shí)權(quán)落入武媚手中，終登上皇后寶座成為武則天。暫無(wú)內(nèi)容 及到高宗駕崩，太子哲即位中宗，中宗不甘當(dāng)個(gè)傀儡皇帝，結(jié)果被轟下臺(tái)。太子旦即位，在位數(shù)年，因懦弱而廢、武則天索性破除傳統(tǒng)，自己登基，終于在公元六九O年，自封為金輪圣神皇帝，改國(guó)號(hào)為「周」，成為中國(guó)史唯一的女皇帝。武則天閑來(lái)無(wú)事，常與俊男后宮淫靡作樂(lè)，并權(quán)傾一時(shí)。暫無(wú)內(nèi)容 公元七O五年，中宗還京復(fù)位，復(fù)位國(guó)號(hào)為「唐」，武則天在位共計(jì)十二年，駕崩時(shí)八十二歲。一生多彩多姿，有褒有貶，淫樂(lè)荒唐，傳說(shuō)紛紜.........
劇情簡(jiǎn)介
太宗駕崩暫無(wú)內(nèi)容晚年武媚入宮，很得太宗寵幸，武媚又與太子李治互生情愫，太宗目睹兩人偷情、公元六四九年，太宗皇帝暫無(wú)內(nèi)容暫無(wú)內(nèi)容武媚娘氣憤而終。駕崩后，太子李治繼位，是為高宗。李治與武媚早結(jié)私情，太宗死后，李治將武媚接回自己宮中，高宗性格懦弱，武媚則勤奮主動(dòng)，高宗更樂(lè)于武媚代勞參政，為暫無(wú)內(nèi)容鏟除王后及異己，武媚親手殺死女兒，嫁禍與之，因而實(shí)權(quán)落入武媚手中，終登上皇后寶座成為武則天。暫無(wú)內(nèi)容 及到高宗駕崩，太子哲即位中宗，中宗不甘當(dāng)個(gè)傀儡皇帝，結(jié)果被轟下臺(tái)。太子旦即位，在位數(shù)年，因懦弱而廢、武則天索性破除傳統(tǒng)，自己登基，終于在公元六九O年，自封為金輪圣神皇帝，改國(guó)號(hào)為「周」，成為中國(guó)史唯一的女皇帝。武則天閑來(lái)無(wú)事，常與俊男后宮淫靡作樂(lè)，并權(quán)傾一時(shí)。暫無(wú)內(nèi)容 公元七O五年，中宗還京復(fù)位，復(fù)位國(guó)號(hào)為「唐」，武則天在位共計(jì)十二年，駕崩時(shí)八十二歲。一生多彩多姿，有褒有貶，淫樂(lè)荒唐，傳說(shuō)紛紜.........
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二〇二五年的歐陸
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等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
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最后一根稻草
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草莓之夜2013
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