家庭環(huán)境
別名:環(huán)境 Circumstance (2010) ,兩個(gè)在學(xué)校認(rèn)識(shí)的伊朗女孩。一個(gè)女孩寄居在叔叔家,因?yàn)椴恢С忠晾矢锩母改敢驯惶帥Q,另一個(gè)女孩出身富裕的伊朗中產(chǎn)階級(jí)家庭,有著民主的知識(shí)分子的父母。 兩個(gè)具有靈性且追求自由的女孩在伊斯蘭高壓的社會(huì)環(huán)境下相處中從朋友到漸漸在彼此的心靈還有肉體中觸摸同性的愛(ài)情。 富裕家庭女孩有一個(gè)哥哥,原本有這音樂(lè)天賦的哥哥在失去生命平衡的迷失中開(kāi)始猶如寄居蟹般返回伊斯蘭教的寺廟---放棄自由從而希望獲得心靈的蒙蔽的安寧。 日漸保守傳統(tǒng)的哥哥愛(ài)上了妹妹的朋友也是妹妹的秘密愛(ài)人, 用小小的謀略愿以償和失去父母的孤女結(jié)婚。 婚后,妹妹還有新婚的兄妻依然舊情難斷。 然而這一切都記錄在哥哥布置下的監(jiān)視攝像鏡頭里。 結(jié)尾妹妹離開(kāi)了伊朗。
劇情簡(jiǎn)介
別名:環(huán)境 Circumstance (2010) ,兩個(gè)在學(xué)校認(rèn)識(shí)的伊朗女孩。一個(gè)女孩寄居在叔叔家,因?yàn)椴恢С忠晾矢锩母改敢驯惶帥Q,另一個(gè)女孩出身富裕的伊朗中產(chǎn)階級(jí)家庭,有著民主的知識(shí)分子的父母。 兩個(gè)具有靈性且追求自由的女孩在伊斯蘭高壓的社會(huì)環(huán)境下相處中從朋友到漸漸在彼此的心靈還有肉體中觸摸同性的愛(ài)情。 富裕家庭女孩有一個(gè)哥哥,原本有這音樂(lè)天賦的哥哥在失去生命平衡的迷失中開(kāi)始猶如寄居蟹般返回伊斯蘭教的寺廟---放棄自由從而希望獲得心靈的蒙蔽的安寧。 日漸保守傳統(tǒng)的哥哥愛(ài)上了妹妹的朋友也是妹妹的秘密愛(ài)人, 用小小的謀略愿以償和失去父母的孤女結(jié)婚。 婚后,妹妹還有新婚的兄妻依然舊情難斷。 然而這一切都記錄在哥哥布置下的監(jiān)視攝像鏡頭里。 結(jié)尾妹妹離開(kāi)了伊朗。
為你推薦
分秒之間
瑞切爾·布萊克,蘇茜·波特,文斯·科洛斯莫,馬丁·薩克斯,蘇珊·普賴爾,megan dale,麗莎·凱,greta carew-johnsThe persona of a celebrated author is threatened when her best friend and muse reveals the dark secret behind her first novel's provenance, igniting an incendiary tale of sex, lies and betrayal.
午夜的太陽(yáng)
鄭知曉,車學(xué)沇該片翻拍自2006年上映的同名日本電影,講述罹患罕見(jiàn)疾病——XP色素性干皮癥的女主因?yàn)槠つw不能接受陽(yáng)光照射,否則將出現(xiàn)生命危險(xiǎn)。從此白天與之無(wú)緣,只能終日躲在家中,唯一的樂(lè)趣也只是趁著夜晚踱到車站廣場(chǎng)唱著自己喜愛(ài)的歌。在這一過(guò)程中,女主漸漸喜歡上時(shí)常路過(guò)車站的沖浪男孩的愛(ài)情故事。
交響詩(shī)篇超進(jìn)化2
動(dòng)畫《交響詩(shī)篇》的劇場(chǎng)版動(dòng)畫《交響詩(shī)篇 超進(jìn)化》續(xù)作預(yù)計(jì)于11月10日正式上映,正式片名定為《ANEMONE/交響詩(shī)篇超進(jìn)化》,宣傳PV今日公開(kāi)。故事以TV動(dòng)畫《交響詩(shī)篇》中最初的東京為舞臺(tái),故事主要圍繞7年前喪父的安妮莫奈展開(kāi)。
煎釀三寶
楊千嬅,劉青云,許冠文,李蘢怡,許紹雄龍雁飛(許冠文 飾)是一個(gè)著名的武俠小說(shuō)家,十年了都沒(méi)有新的作品面世了,不過(guò)以往的暢銷作品仍然帶給他客觀的收入,生活無(wú)憂。他的女兒Sophia(楊千嬅 飾)是個(gè)早已到了適婚年齡,但她戀愛(ài)運(yùn)甚差,只想找一個(gè)真正可以過(guò)日子的人結(jié)婚,其實(shí)她一直暗戀自己的上司——花花公子Frankie(劉青云 飾)。Frankie因?yàn)橐馔庖岬絊ophia的家住,龍雁飛看見(jiàn)自己心愛(ài)的女兒被Frankie當(dāng)工人使喚,心里很不是滋味,便對(duì)Frankie充滿了敵意,但在后來(lái)的相處中,兩個(gè)男人又成了知己……
復(fù)仇新娘
凱蒂·勒克萊齊,杰夫·辛,漢娜·巴爾福特,本·加文,Kendra Carelli,尼克·巴拉德,Charles Christopher,Denny Dormody,肯特·法爾考,Heather Horton,Jana Lewis擁有一個(gè)成功的美發(fā)沙龍,即將嫁給她夢(mèng)想中的男人,MIYA認(rèn)為事情不會(huì)變得更好。當(dāng)她收到婚禮邀請(qǐng)時(shí),事情很快就開(kāi)始崩潰——她的未婚妻伊恩和前未婚妻洛里的婚禮。不久,宮被一個(gè)穿著婚紗和面紗的怪異新娘跟蹤,伊恩開(kāi)始懷疑宮可能正在編造這一切。當(dāng)一系列可怕的事件開(kāi)始發(fā)生時(shí),宮先生確信莉莉正在實(shí)施一個(gè)扭曲和致命的復(fù)仇計(jì)劃
女人們的談話
魯妮·瑪拉,朱迪思·愛(ài)薇,艾米麗·米切爾,凱特·哈萊特,麗芙·麥克尼爾,克萊爾·芙伊,希拉·麥卡錫,杰西·巴克利,米歇爾·麥克勞德,基拉·古洛安,莎伊拉·布朗,弗蘭西斯·麥克多蒙德,薇薇安·安迪克特·道格拉斯,本·衛(wèi)肖,奧古斯特·溫特,洛克蘭·雷·米勒,納撒尼爾·麥克帕蘭德,威爾·寶,伊里·哈姆,艾米麗·德雷克,馬庫(kù)斯·克雷格,卡羅琳·吉利斯來(lái)自與世隔絕的宗教社區(qū)的婦女們努力使她們的現(xiàn)實(shí)與她們的信仰相協(xié)調(diào)。通過(guò)背景故事,我們看到一個(gè)婦女社區(qū)聚集在一起,研究如何共同前進(jìn),為她們自己和她們的孩子建立一個(gè)更美好的世界。要么留下來(lái)戰(zhàn)斗,要么離開(kāi)。她們不會(huì)什么都不做。
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.