230楼：【楼主(zhǔ )是不是个男人(Ԃ[展开全部]
230楼：【楼主(zhǔ )是不是个男人(🔟)啊！出手啊！！】霍(huò )靳西就着她的手喝(👢)了两口，看着慕浅将杯子(🈂)放到床头，这才又开(⬛)口：继续吗？Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.张秀娥虽然觉得自己比之前好看了一些，但是她实在是觉得自己和漂(piā(➖)o )亮不怎么搭(🍨)边儿。Yuanyuan Hu’s Sunset Flower Blooming (夕(xī )化粧/Yugesho, 2012) is set in the countryside in 1960s China. A grandmother sits and hums in her walled garden as her granddaughters play with evening primroses (夕化粧/Yugesho). The growing shadows let us know that the day is coming to an end – the time at which the primroses open their small pink buds. The granddaughters decorate their grandmother’s hair with primroses and one girl brings her a mirror to show her their handiwork. The girl pauses and looks down at her grandmother’s feet encased in tiny pointy shoes. She then moves her own bare feet in large, boxy sandals as if comparing sizes.睡房里却没有她的身(shēn )影，霍靳西缓步走到(dào )卫(wèi )生间门口，看到了抱膝坐在浴缸里的她。《维将-降伏其心》讲述了传说维将之子古宇，为了寻找年幼时(shí )意外失(shī )踪的父亲踏入质维世界，开始(😒)冒险之旅的(👍)故事。本季将继续以主人公古宇坚守本(🧜)心、积(🦃)极向上的精神(shén )，向观众展示在成长的道路上面(🔜)对负面情绪(➗)时，应该用怎聂远乔(qiáo )看了看张秀娥，笑着说道(🚢)：快中午了，是不是快要吃饭了？《抗1》以翔实、鲜(🚀)活的(de )人(📡)物访谈和历史资料以及全(quá(🌜)n )新的方式表现抗战(😀)历史，片中涉及的(de )采访对(🥀)象平均年龄超过90岁，从各自不同的视角(🛂)，重新(🐻)回忆抗战那段历史。在这些被采访者中，有当年的抗战老兵，也有经历过抗战的普通(tōng )民众；全片充(chōng )满了(le )个(gè )人化的视角，使历史变得鲜活立体。而《抗2》全面(💷)继(jì )承了此种真实的精神，《抗2》中战...[收起部分]
