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電影《浪浪人生》泉州路演口碑爆棚 馬林蔡崇達黃渤重回取景地分享“瘋浪”趣事

本作の主演はやよっちこと浜辺やよいちゃん！！底抜けに明るく誰からも愛される天真爛漫な愛嬌が魅力、ハタチの妹系美巨乳美少女だ！！「やよい県」と呼ばれるファンは日々増加中、そんな逸材の初イメージ作品の舞臺に選ばれたのは常夏の楽園、宮古島。快晴続きの絶好のロケーションで海にプールに砂浜にと南國の醍醐味が充実、宮古島の市街地でもお茶目な姿を見せるぞ。初ロケながらスタッフともすぐに打ち解け、撮影後にはプールに豪快ダイブして頭までずぶ濡れに。その自由過ぎる明るさに一同大爆笑。長期ロケならではのオフショットやメイキングも満載、インタビューでは奔放な性事情も炸裂、ロケ先でも夜にアレをやっちゃったとか！？さらに事務所の大先輩である天使もえちゃんも友情出演、レジェンドにも物怖じせず軽妙なトークや食レポなど新たな魅力を開花させる。宮古島に咲きほこるやよっちスマイル、この夏いちばんの笑顔が海の向こうであなたを待っている！！

“晉塔”裝備出口哈薩克斯坦

河北五超·微視頻｜張家口隊客場對陣保定 “吉祥物”火線“上崗”

廈馬明年1月11日鳴槍 賽事規模35000人

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.

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白巖松：“好房子”什么樣？4個“不能是”

物理學家海因茨·施奈德遇害事件的重大嫌疑犯愛麗絲被黑道懸賞了巨額賞金。 女性賞金獵人娜蒂在墨西哥遇到愛麗絲，但她不是來逮捕愛麗絲的，而是奉主雇的要求來保護愛麗絲的。 愛麗絲要去南方的故鄉，娜蒂決定陪伴愛麗絲一同前進，但是大路前方，是賞金獵人里卡多、神秘少年L.A的埋伏，而娜蒂的主雇茱迪小姐，也似乎有所隱瞞。學者道格拉斯·羅森伯格則按兵不動，似乎一切都在他的計劃之中。 魔女的傳說，路途的危機四伏，娜蒂與愛麗絲能到達她們的目的地嗎？