676
7.0

在糟糕的日子里

导演:
托米·维尔科拉
主演:
劳米·拉佩斯,阿卡塞尔·亨涅,Atle Antonsen,克里斯蒂安·鲁贝克,安德烈·埃里克森,Nils Ole Oftebro,斯蒂格·弗洛德·亨里克森,Tor Erik Gunstrøm,Selome Emnetu,Galvan Mehidi,伊芙·卡塞思·罗斯腾,Harald Dal,Ask Sørsdahl,Jeppe Beck Laursen,Kristoffer Jørgensen
别名:
未知
7.0
676人评分
其它
语言
2021-07-30
上映时间
未知
片长
简介:
《在糟糕的日子里》一对出现婚姻问题的夫妇前往一个遥远的小屋重新修好,但他们都有杀害对方的企图。就在他们执行计划前,意外的访客来了,他们面临着更大的危险。
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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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简介:

讲述一群彼此选择为家人的朋友,如何在家庭期待、酷儿身份与文化认同的冲突中,经历各种意外与感动。安琪拉(凯莉·玛丽·陈 饰)与伴侣李(莉莉·格莱斯顿 饰)因试管婴儿疗程屡屡失败,却无力负担新的疗程费用。而他们的好友珉(韩基灿 饰),虽是跨国企业家族的隐藏继承人,坐拥丰厚财富,却因学生签证即将到期而陷入困境。当他的男友克里斯(杨伯文 饰)拒绝求婚后,珉灵机一动,向安琪拉提出一桩交易——只要她愿意与他假结婚,助他取得绿卡,他便资助李的试管婴儿费用。然而,他们原本打算低调进行的计划,却因珉的奶奶(尹汝贞 饰)突然从韩国飞来探访而彻底失控。这位精明的老夫人不仅对孙子的婚事半信半疑,还坚持要为他们办一场盛大的传统婚礼,让这场“交易”瞬间变成一场盛大而混乱的囍宴。随着婚礼逼近,两对情侣的感情与关系也面临前所未有的挑战——当承诺、家人与自我认同交织在一起,他们是否能勇敢地面对内心真正的渴望?

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