剧情简介
毒战A flapper charms a diplomat to procure her fiancé a career opportunity, while the fiancé starts a relationship with her best friend...
毒战
毒战A flapper charms a diplomat to procure her fiancé a career opportunity, while the fiancé starts a relationship with her best friend...
戴玉强
回复 :20岁的车尚银（姜惠贞 饰）善良美丽，在折纸方面很有天赋，与妈妈（裴宗玉 饰）过着幸福的生活。尚银虽然看起来是个20岁的少女，可她只有7岁的智商。因为妈妈的爱，让尚银不觉得自己的生活欠缺什么，她喜欢利用童话故事中的主角自娱自乐。可是中范（郑京浩 饰）的出现让尚银心里莫名有了种奇妙的感觉，因为她把出众的中范当作了白马王子。数次约会后，中范便得知了尚银的病情后渐渐远离了。倍受打击的尚银也不肯将实情告诉一直最信任的妈妈……
干乐队
回复 :出品单位: 北京影迪通文化发展有限公司曾经年轻美丽的女通讯兵耿鸽，现在是干瘪蹒跚的独居老妪。儿女不在身边的耿老太，性格怪癖，脾气暴戾，间或沉默无语，间或滔滔不绝。唯一能够见到她笑容、听到她温和的声音的时候，是她和院子里的弱智小园丁在一起的时候。她不厌其烦地教他对人们正确的称呼，却永远都是徒劳，而耿老太乐此不疲。绰号“粽子”的年轻小混混，曾经是一个好学生，无奈家贫，只好辍学进城谋生。粽子不是无所事事、毫无节制的混，他发小广告、倒卖文物等无固定收入的做一些事情以给母亲和弟弟提供医药费与学费，有时连自己的生活都难以维持。一次偶然，粽子与耿老太相识。耿老太强行给粽子看她那些锁在玻璃柜子里的军功章，讲它们的来历。起初，粽子对她讲的那些遥远的故事并没有多少兴趣。唯一吸引他的，是柜子里被耿老太看得很紧的那把青铜古刀。耿老太像个孤独的孩子似的，对唯一“愿意”和她说话的粽子渐渐产生了依赖，她用她独特的强制专横的方法让粽子常来看她。为了那把刀，粽子开始不时地来耿老太家。耿老太总是喜欢站在窗前，看一群群鸽子飞过，听鸽哨阵阵，她的脸上浮现出少年的颜色。耿老太孤独的境遇渐渐地让粽子内心柔软起来；老人那些曾经年轻美丽的英姿飒爽的照片，让粽子渐渐对她讲的那些战争岁月的故事而感动；老人对粽子渐渐不再设防的种种表现，让粽子开始怀疑自己起初来这里的动机。看着那把古刀静静地躺在没有上锁的柜子里，粽子不知道该不该把它拿走……
达达乐队
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
