六花的勇者
地区:台湾
  类型:二战
  时间:2025-03-13 07:23:37
剧情简介

This is a very bizarre fairy tale. It commences with a wedding and singing and dancing but nearly the whole village is wiped out by wolves. The bride gives birth to a daughter several months later and promises her to the boy who saved her.Ten years later there is another disruption when Some circus folk come by and the villagers trick them into staying. Tragedy ensues...This has a strange cast, dwarfs, giants, priests and occasional intrusions from the modern world in the form of the police and a wonderer who returns bringing to the village the good news of Nostradamus. It is a long film but it honestly does not drag. and if you get bored of the plot you can always look at the sumptuous Countryside.

3418次播放
438人已点赞
17181人已收藏
明星主演
曲祐良
郑在亨
阚杰
最新评论(661+)

干乐队

发表于7分钟前

回复 :家住广岛市的浦野丝丝(北川景子 饰)出生在一个售卖海苔紫菜的家庭,她自幼喜欢画画,性格天真烂漫。长大成人后,她嫁给了住在吴市的北条周作(小出惠介 饰),在陌生的城市展开了新的人生。在此期间,她结识了身份卑微的美丽女孩白木铃(优香 饰),两人原本情投意合,可是随着交往的发生她却察觉到好友和丈夫之间不寻常的关系。心思反乱之际,在广岛的初恋情人水原哲(速水重道 饰)也意外出现,北条夫妻的感情开始经历严峻的考验。而与此同时,战争的脚步越来越近,所有人的命运都被抛入血与火的漩涡之中。曾经的幸福浪漫不在,人们为了生存竭尽全力,疲于奔命……本片根据高野史代的漫画改编。


刘玉翠

发表于4分钟前

回复 :A young woman enlists in an underground game of pain endurance in the hope of winning the million dollar prize. She soon learns the real opponent is the man who's running the game, as he employs horrific methods to manipulate and defeat her.


蔡卓妍

发表于4分钟前

回复 :The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.by D.R. SHIMON@lounge.moviecodec.com


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