艾米·波勒将执导纪录长片[露西尔与戴斯](Lucy & Desi,同学暂译,同学工作名)。[海豚湾]编剧马克·蒙雷操刀剧本。该片讲述知名喜剧演员露西尔·鲍尔与丈夫戴斯·阿纳兹之间的个人生活与职业合作。露西尔·鲍尔是美国著名的喜剧演员,在她的一生中,她一直活跃在电影、电视、舞台、电台等各种媒体上,成为了美国文化一个时代的象征。她与戴斯·阿纳兹于1940年结婚,1960年离婚,育有两个孩子。
艾米·波勒将执导纪录长片[露西尔与戴斯](Lucy & Desi,同学暂译,同学工作名)。[海豚湾]编剧马克·蒙雷操刀剧本。该片讲述知名喜剧演员露西尔·鲍尔与丈夫戴斯·阿纳兹之间的个人生活与职业合作。露西尔·鲍尔是美国著名的喜剧演员,在她的一生中,她一直活跃在电影、电视、舞台、电台等各种媒体上,成为了美国文化一个时代的象征。她与戴斯·阿纳兹于1940年结婚,1960年离婚,育有两个孩子。
回复 :一位老诗人在河畔酒店里住了一段时间,想起了他两个久未联系的儿子。一个被同居男人背叛的年轻女人,也入住了这家酒店。为了寻求支持,她请了一位朋友来陪她。在这个江边旅馆里,人们只是相互凝视,生活于每个人来说都很艰难,这样的日子似乎每天都在不知疲倦地反复。
回复 :imdbPlot summaryBorn in a small town in the countryside surrounding Pistoia, Adriana is an attractive young girl who counts on using her looks to go places in the entertainment business in Rome. Moving to the capital, she works first of all in a hairdressing salon, then in a small cinema where she manages to get a job working in fancy dress. Meantime, she socializes with young men of the upper middle classes, who take her to parties and out on the town with the sole aim of taking advantage of her. Adriana knows their game, but plays along. In the meantime, she meets an agent called Cianfanna, a modest money-grubber who introduces her to a journalist friend of his so he can write an article on her. Having thus launched her career in advertising, Adriana decides to go home to visit her parents. Once home, however, she is distraught to learn of the death of her sister. Returning to Rome, she takes acting lessons, but during one lesson she suddenly faints: she is pregnant, with no idea of who the father of her child is. The days go by and Adriana tries to forget about her pregnancy, while sleeping with an increasingly long list of lovers. And yet, despite the fact these encounters are often less than enjoyable, at one point she actually falls in love: his name is Antonio and he's a decent young man from a respectable family, but still in love with a former girlfriend he is unable to forget…
回复 :由于女演员在片场发生了危机性命的意外,亦由于一直教导的学生投靠了他人的麾下,导演金基德长久以来对于电影的执念发生了动摇,年逾五十的他发现原本高产的自己竟然再也没有了拍电影的热情与冲动。于是,失意的导演选择过起了离群索居的生活,在物质条件极为简陋的高山之上开始了自我质疑和质问的心灵旅程,他用摄像机拍下了这一段困顿生活中的自问自答,经过剪辑,于是有了这部电影。拍电影究竟是为了什么?将那些饱受争议的画面和意向放置在电影里又有着怎样的意义?即使是金基德,也给不出标准的答案。唯一能够确定的,是他已将电影融入了生命,情到深处人孤独,在《阿里郎》的歌声里,除了电影本身之外,一切都显得不再那么重要……