Wathit

Forthetwo13-year-oldblood-brothersAlexandFerry,Hitlerswarisanexcitinggame–whichisnotsurprisingsincetheyliveinabackwatertownignoredbytheAlliedbombers.TheonlythingthatsmoreinterestingthanwatchingenemyplanesflypastistheburningdesiretodiscoverthesecretsofsexualitywiththefieryRosa.Butthenbombsactuallydostartfallingontheirlittletown–andtheboysaresenttoaCzechspatowaitouttheendofthewar.Blessedwithabeautifulsingingvoice,Alexjoinstheboyschoir,insistingthatFerryjoinittoo–blood-brothersshareeverything!ButtroubleisafootwhenAlexreplacesthe“HitlerYouth”watchdogasleadsoloist.Worseyetisanotherproblemtheyhavetocontendwith:AlexlearnsthathesJewish!AsthechoirpreparesaconcertthatHitlerisplanningtoattend,theboysaresweptupintoaworldofintrigueanddanger–andintothebedofthebraveandbeautifulpartisanHelenka...Withboththewarandtheboyshormonesraging,AlexandFerryembarkonacoming-of-ageadventureunlikeanyother.

《辛普森一家》是美国福克斯广播公司的一部动画情景喜剧，由马特·格勒宁创作。该剧通过展现霍默、玛琦、巴特、莉萨和玛吉一家五口的生活，讽刺性地勾勒出了居住在美国心脏地带人们的生活方式。空间设定于虚构小镇春田镇的《辛普森一家》，从许多角度对美国的文化与社会、人的条件和电视本身进行了幽默的嘲讽。为了给制片人詹姆斯·L·布鲁克斯制作一出动画短剧，马特·格勒宁构思出了辛普森一家人的形象。格勒宁用自己家族成员的名字逐一地给他们命名，而自己的名字则用“巴特”替代。1987年4月19日，短剧成为了《特蕾西·厄尔曼秀》的一部分。在播映三季后，《辛普森一家》得以转正进入半小时的黄金时段，并成为了福克斯在早期达成的成功之一。自1989年12月17日的首次播出开始，《辛普森一家》已播出了20季，共441集。2007年5月20日播出的第18季末集，是这部动画的第400集；同时，2007年亦是该剧播出的20周年纪念。于2007年7月26日和7月27日在全球上映的《辛普森一家大电影》，至今已获得约5.253亿美元的票房收入。第20季已于2008年9月28日开始播出。从作为一部电视剧制播以来，《辛普森一家》赢取了大量的奖项；其中包括24次艾美奖、26次安妮奖和1次皮博迪奖。1999年12月31日期的《时代》杂志将其评为20世纪最优秀的电视剧作；2000年1月14日，《辛普森一家》的星星被刻在了好莱坞星光大道上。作为美国历史上最长寿的情景喜剧及动画节目，《辛普森一家》对流行文化产生了极大的影响：譬如霍默·辛普森懊恼时的咕哝声“D’oh!”便被英语词典所收录；同时此剧亦对许多面向成人的动画情景喜剧产生了影响。辛普森一家，是居住在美国“心脏地带”式小镇春田镇的一个典型家庭。[46]家中的父亲霍默担任着春田镇核电站的安全检查员——这个职位与他粗心、弄臣式的个性显得很不相称。他的妻子玛琦·辛普森，是一位典型的美国式主妇和母亲。他们有着三个孩子：十岁的大儿子巴特是一个麻烦制造者；八岁早熟的女儿莉萨是一位积极行动主义者；小女儿玛吉是一个几乎不会说话，只能用吸橡皮奶嘴进行交流的婴儿。这家人养有一条名叫圣诞老人小助手的狗，以及一只名叫雪球二世的猫。两只宠物都曾在几集动画中充当中心角色。尽管度过了许多次节日或生日这样的年度重要事件，辛普森一家人都没有因为真实岁月的流逝而逐渐老去，其面貌与他们在1980年代末露面时并无二样。《辛普森一家》有许多乖僻的次要角色：同事、老师、亲朋好友、地方名人。格勒宁起初只是打算让这些角色出现一次，让他们充当笑料制造者，或用来填补小镇需要的一些功能。不过，大部分的这些角色后来都被保留了下来，其形象也得到扩充，甚至不少角色在后来还成为了几集动画的中心人物。据马特·格勒宁所说，动画采用了喜剧节目《第二城市电视台》（SCTV）中使用大量配角制作节目的概念。(摘自Wikipedia)TheSimpsonsisananimatedsitcomaboutthemodernfamily.ItisFOX’smostsuccessfulTVshowtodate.Itstartedasaone-minutefillerontheTraceyUllmanShowbutsoonevolvedintoAmerica’sfavoritecomedy.TheSimpsonsfocusesonafamilyoffive.Thereisthefather,Homer,adull-witted,alcoholic,lazy,butlovableman.Heoftengetshisfamilyintocrazysituationsbutalwaysmanagestofixthings.Themother,Marge,isastayathomemomwhokeepsthefamilytogether.Sheistheidealwifeandmotherthoughshecanbealittlenaiveattimes.Shealwaysdoeswhatshethinksisbestforherfamily.NextisBart,the10yearoldboywholivesonplayingpranks.Hegetsintoalotoftroublebutisgenerallyagoodkid.Nextistheneglectedmiddlechild,Lisa.Lisaisthebrainofthefamilyandsometimesfeelsleftoutbecauseofthat.Sheisanoutcastatschoolbecauseofhertalent.FinallythereisMaggiethebaby.Thoughshedoesn’tsaymuchsheiswellknownespeciallyforherredpacifier.Nowthelongest-runningcomedyintelevisionhistory,THESIMPSONSimmediatelystruckachordwithviewersacrossthecountryasitpokedfunofitselfandeverythinginitswake.Withitssubversivehumoranddelightfulwit,theserieshasmadeanindelibleimprintonAmericanpopculture,andthefamilymembershavebecometelevisionicons.January14,2009kickedoff"Best.20Years.Ever.,"ayear-longglobal20thanniversarycelebrationofallthingsSIMPSONS.TheyearwillconcludeonJanuary14,2010andwillfeatureTHESIMPSONS20THANNIVERSARYSPECIAL–IN3-D!ONICE!,producedanddirectedbyAcademyAward-nominatedfilmmakerMorganSpurlock("SuperSizeMe,""30Days").Inthespecial,SpurlockwillexaminetheculturalphenomenonofTHESIMPSONSinhisdistinctiveandinnovativestyle.Thecriticallypraisedserieshasbeenbestowedwithnumeroushonors,includingrecentlyreceivingfiveEmmynominationsforthe2008-2009season.Overthecourseoftheirtwo-decaderun,THESIMPSONShavewon24EmmyAwards:12forOutstandingVoice-OverPerformance,10forOutstandingAnimatedProgramandtwoforOutstandingOriginalMainTitleThemeMusic.THESIMPSONSisaGracieFilmsproductioninassociationwith20thCenturyFoxTelevision.JamesL.Brooks,MattGroeningandAlJeanaretheexecutiveproducers.FilmRoman,aStarzMediacompany,istheanimationhouse.MikeB.Andersonservesasthesupervisinganimationdirector.

ITVhascommissionedasixthseriesofhugelypopulardetectivedrama,Endeavour,followingsuccessfulratingsandcriticalacclaimforthefifthseries.Co-producedbyleadingindieMammothScreenandMASTERPIECE,thesmartandsavvyInspectorMorseprequelchartsthecareerofEndeavourMorseasherisesupthroughtheranks,witheachfeature-lengthfilminvestigatinganewintricatelyplottedcase.ThenewsetoffilmswillseeShaunEvansreprisehistitularroleasDSEndeavourMorse,andcelebratedstageandscreenactorRogerAllamreturnasmentorDIFredThursday.EachstorywillbewrittenbyRussellLewis,whocontributedtoInspectorMorseandhaswritteneachofthe23Endeavourscreenplayssofar.Receivingpraisefromcriticsandviewersalike,thedramahasgonefromstrengthtostrengthsinceitsfirstoutingasaone-offfilmin2012tomarkthe25thanniversaryofInspectorMorseonITV.Thelatestserieslaunchedwithconsolidatedfiguresof6.7mand25\%ashare,withtheconsolidatedfiguresforthefirstfourfilmsthehighestforthreeyears.FilmedinandaroundOxford,thenewsetoffilmswillbesetin1969andgointoproductionlaterthisyearfortransmissionin2019.MammothScreen’sDamienTimmerexecutiveproduces,alongsidewriterandcreatorRussellLewisandWGBH’sRebeccaEaton.DeanneCunningham(ColdFeet)willproducethenewseries.Creator,RussellLewissaid:Asourstoryreachesthelastyearofthe1960s,andmankindmakesitsgiantleap,allat#TeamEndeavourlookforwardtoexploringfurtherearlychaptersinthecasebookofColinDexter’sbelovedcreation.ITV’sHeadofDrama,PollyHilladded:EndeavourcontinuestobehugelypopularwithITVaudiencesandwe’redelightedtobebringingviewersmorefilmstoenjoy.ThankstoRussellLewis’sconsistentlyintriguingscriptsandtheexcellentproductionvaluesatMammothScreen,itisahighqualitydramathatITVisimmenselyproudof.ITVStudiosGlobalEntertainmentdistributethedramainternationally.

CBSwillbebringingbackanotheroneofitsveterandramasforthe2019-20TVseason.Announcedthisafternoon,thenetworkhasofficiallyrenewed“NCIS”foritsseventeenthseason.Thenewscomesafterstarandexecutiveproducer,MarkHarmon,signedanewdealwithCBStoreprisehisroleontheseries.“NCIShasbeenaglobaljuggernautforalmosttwodecades,”saidCBSEntertainmentPresident,KellyKahl.“Itsviewersareclearlythemostloyalofanydramaontelevision.Theyarepassionateaboutthecharacters,theplotlinesandthestorytelling.Weoweahugedebtofgratitudetothegiftedproductionteamandthecast,ledbytheextraordinaryMarkHarmon.WearedelightedthattheshowwillremainalinchpinoftheCBSschedulethiscomingseason.”Initscurrentseason,“NCIS”hasbeenaveraging12.2millionviewersinthelive+samedayratings,makingitTV’ssecond-most-watchedscriptedseries,behindonly“TheBigBangTheory.”IthasremainedastrongperformerforCBS,inbothitsratingsandviewershipnumbers,andwaswidelyconsideredtobeastrongrenewalcontenderleadinguptotheannouncementtoday.Withthisrenewal,“NCIS”nowjoins“YoungSheldon,”“Mom,”“CriminalMinds,”“GodFriendedMe,”“MagnumP.I.,”“FBI,”and“TheNeighborhood”onagrowinglistscriptedtitlesconfirmedtobereturningonCBSforthe2019-20season.

Thehalvesoftwobodies,onebelongingtoafemaleSwedishpolitician,arediscoveredinthemiddleoftheØresundBridge,whichconnectsCopenhageninDenmarkwithMalmöinSweden.Thebody,cutinhalfatthewaist,hasbeenplacedpreciselyontheborderbetweenthecountries,thusfallingunderthejurisdictionofboththeDanishandSwedishpoliceagencies.Afterfurtherexamination,itturnsoutthatthebodyisthatoftwoseparatecorpses,withonehalfbelongingtoaDanishprostitute.SagaNorén,fromtheSwedishside,andMartinRohde,fromtheDanish,leadtheinvestigationtocatchthemurderer.[4][5]Theinvestigationquicklyescalatesasajournalist,DanielFerbé,whosecarwasusedinthecrime,beginsreceivingphonecalls.Thecaller,whobecomesknownasthe"TruthTerrorist",claimstobecommittinghiscrimesinordertodrawattentiontovarioussocialproblems.Asocialworker,StefanLindberg,whosesisterbecomesavictimoftheTruthTerrorist,becomesanearlysuspect.However,eventssoonleadtheDanishandSwedishteamstoconcludethatthekillerhasconnectionstothepolice.Theydiscoverthatthecrimeshavebeenplannedoveraperiodofseveralyears.ThetraileventuallyleadsthemtoJens,aDanishpolicemanandformerclosefriendofMartin’s,whowasthoughttohavecommittedsuicideafteranaccidentonthebridgecausedthedeathsofhiswifeandson.Inthecourseoftheinvestigation,MartinandSagadevelopacloseworkingrelationship,althoughtheyareverydifferentpeople.Martinhasatwenty-yearoldsonfromhisfirstmarriage,August,whoisnowlivingwithMartinandhiscurrentwife,Mette,bywhomMartinhasthreechildren;afterMartinhashadavasectomy,Mettediscoversthatsheisexpectingtwins.Sagalivesaloneanddoesnotseemtofeelsheneedsaseriousrelationship,insteadpickingupmeninbarsforcasualsex.SheappearstohavesymptomsconsistentwithAspergersyndrome,resultingindifficultyestablishingrelationshipsandfeelingsofinadequacyinmanagingpeople;sherefusesapromotionforthislatterreason.Afterthekillerhasmurderedseveralpeopleandsuccessfullythrownredherringsinthewayoftheinvestigation,histruepurpose-tostrikeatMartinhimself-eventuallybecomesclear.Jens,nowcallinghimselfSebastianSandstrod,firstapproachesMette,whoissusceptibletohisadvances,afterlearningthatMartinhassleptwithCharlotteSöringer,awomanwhoisperipherallyinvolvedintheinvestigation.SebastianluresMetteandherchildrentoaremotespotwherehesubjectsthemtoaterrifyingordeal,lockingtheminwitharoomandgivingherahandgrenadewithitspinremovedtoholdaslongasshecan.However,SagarealisesthatAugustistherealtarget.Theinvestigationculminatesinaconfrontationonthebridge,whereshecannothelpbuttellMartinwhathappenedtoAugustandhastofireathiminordertopreventhimdestroyinghiscareerbykillingSebastian,thekiller’sfinalintention.

一部給低估了的傑作，鑑於前作被指離經叛道，劉別謙改拍童話式故事，拍出令德國人瞠目結舌的格調與清新幽默感，論者認為它比《卡里加里醫生的密室》更應名垂青史（兩片其實是雙生兒，只是主角一個作惡一個行善）。不肯成長的男孩被叔父強迫娶妻，玩具大王借女兒的模樣造出機械公仔，演出一幕騙婚記，但竟弄假成真。幕開只見我們的導演跑出來，用紙板砌出人與物，接着疊現真實畫面。戲演下去，所有場景透視詭異，道具有時索性繪在牆上。全片優美且自由奔放，活像頑童開心炮製的藝術品。值得一看的還有德國默片女星奧茜奧華黛的傳奇身影。ProceedingTheCabinetofDrCaligaribyoneyear,thisisbothvintageearlyLubitschwithitsslyslapstickandRabelaisian...

Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.

两具僵尸可想而知地先后复出,他们决议找回得到的爱。然而他们不认识到有一家公司正在追踪他们…Twoinexplicablycoherentzombiesawakeamidstazombieattackanddecidetotakearoadtriptofindtheone’slostlove,unawaretheyarebeingchasedbytheagentsofaruthlesscompanywithit’sownagenda.

Wanfahmai Vararith（女配角）由于得到了怙恃住进了Arthit（男配角）家,她晓得本人可能会被赶出去,以是脱了衣服引诱Arthit,想要留上去。 没想到Arthit愤而奔出门碰到了车祸,差点得到性命,就算康复了,也仍然布满恨意。 Wanfahmai Vararith因而被送出国留学四年,返国事由于对Arthit父亲的许诺,不得不返来再次面临Arthit,固然她懊悔了,但Arthit仍然不谅解她。 谁说“时光会疗愈所有”, 都是哄人的, 四年从前了,他仍然对她布满恨意,乃至愈甚 以是,就如许吧, 她必需实现对他父亲的许诺, 以是她会表示得像个隐形人。 一点也不让他朝气。

Setinanundergrounddungeoninhabitedbybundled,raggedhumanbeings,afterthenuclearholocaust.Thestoryfollowsthewanderingsofaherothroughthesituationsofsurvival.PeoplewaitfortheArktoarriveandrescuethemwhiletheirhabitatfallsapart.Delvingdeepintothedustyandlongabandondedvaultsofb-cinemainsearchoflostgemsalwaysleavesmewithabittersweettaste.Ononehandthediscoveryofunexpectedgemswherenoonewouldthinkthempossibleisarewardingexperience.Ontheotherhandthoughitmakesonewonderhowmanyoftheseremarkablelow-budgetoddities,personalloveaffairsofdirectorsneverquitefamousandnowallbutforgotten,havealmostforeverslippedfrommemory?nanycasewhatwehavehereisalittlepost-apocalypticgemfromPolandthatisreallybetterthanithasanyrightto.ThedystopiannearfutureofO-BI,O-BAfindsagroupofsurvivorsofthenuclearwarthatravagedtheEarthinhabitinganunderworldconcretebunkerandbidingtheirtimeastheywaitforthemysteriousArk,anairshipofsomekindthatwillcomeandsavethem.TheArkprovestobeanelaboratehoax,carefullydesignedtogivehopetothemalnourishedanddesperatedenizensofthebunker,whileinthemeantimethedomethatseparatestheirmiserableexistencefromthenuclearwinteroutsideisslowlycavingin.Whatfirststrikedmeaboutthemovieisthedesignofthebunkerandthedepictionofthesurvivors.Thesurvivorsaregaunt,filthyandterrible-lookingpenitents,dressedinragsandaimlesslywanderingtheneon-lithallsofthebunkerlikeautomatons.Thebunkerisarundown,seedyplace,withbrightneonlightspeeringfromallsidesliketheeyesofmalignantbeasts.Ononehanditisaslightly80’sdepictionofthedystopianfuturebutthemovieneverstoopsdowntoMADMAXcheese.Insteaditcombinesbitingpoliticalsatirewiththebleakoutlookofaworldwithnofuture,blackcomedywithbarbsonapathy,religionandpower.Thesurvivors,forexample,arefedsomekindofflourdroppingfromatubethathoversintheair-lateronwediscoverthefoodsupervisorusesbooksandtheBibleitselfasfillerforthismeagremeal.Therearemanysuchshortsymbolictouches,perhapsnotlife-changingorfaith-restoring,yetplayful,cleverandinspired.Onethingisforsure;O-BI,O-BAisnotyourrun-of-the-millsci-fischlock.Itovercomesitsmodestbudgetwithcreativityandhasgenuineartisticaspirationsbothfromawritinganddirectingperspective.Myopinionisthatitshouldhavebeenfilmedinblackandwhiteinsteadofcolourthough.Thedirectorusesatmosphericlightandshadowtogreateffectanditwouldhaveregisteredevenbetterinstarkblackandwhite.Theblue-greenneonontheotherhandoutstaysitswelcomeafterawhile.Justaminorgripeinanotherwisesolidb-moviewithitsheartsetinalltherightplaces.ImaginealessbleakTHEROAD(CormacMcCarthy)beinginjectedwiththesatireandhumourofDR.STRANGELOVEandyou’regettingthere.Seeitifyoucanfindit.