793
7.0

阴阳路8:棺材仔

导演:
阮志强
主演:
陈松伶,雷宇扬,罗兰,张可颐,唐家辉,谭小环
别名:
未知
7.0
793人评分
粤语
语言
2001-01-04
上映时间
84分钟
片长
简介:

毕彼特(雷宇扬 饰)因电影业不景气,失业在家,只好和做神婆的老妈龙娣(罗兰 饰)、小弟毕基以及女友阿四一家人搬到郊区居住。毕彼特初来乍到,发现虽然地角偏僻,但是出租的大房视野开阔,更有美艳女子娥姐(陈松伶 饰)为邻。待一家人入住后,毕彼特便遭遇多桩怪异事件,令人怀疑这幢包租公房间贴满黄符的大房内有诡异。某夜,毕彼特惊见娥姐的鬼魅一面,惊醒后才知是南柯一梦,然而,娥姐平日神出鬼没,常常面对陌生男童发呆的举动似乎确实隐藏着不为人知的秘密。毕彼特求职不顺,又再次发现娥姐的鬼魅表现,遂开始调查娥姐的身世……

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玛利亚(安娜·费尔南德斯 Ana Fernández 饰)是一名清洁女工,独自一人居住在位于西班牙的一间小小公寓之中,过着形单影只的生活。身为一名清洁女工,玛利亚的收入十分拮据,刚刚够维持自己一人的生计,日子过得十分苦闷。玛利亚的男友是一名卡车司机,两人之间的关系十分淡漠。某日,玛利亚发现自己怀孕了,然而男友却并没有一丝一毫想要结婚的打算。父亲生病,在母亲的陪伴之下,老两口来到了城里看病,借住在玛利亚的家中。父亲和母亲吵吵闹闹了一辈子,却也相互扶持着过了一辈子,玛利亚将这一切看在眼里,心中充满了无奈。在这期间,玛利亚的母亲结识了住在玛利亚楼下的孤独老人,随着时间的推移,两人之间竟然产生了淡淡的情愫。

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更新时间:04月18日
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简介:Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.  To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.  At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.  Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
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