影片名称：甘地

上映时间：2023年

影片类型：视频解说

影片导演：斯蒂芬·麦卡勒姆

影片主演：José María Lado,帕洛玛·古斯曼,朴慧秀,贝蒂亚曼,博纳费·塔尔布利耶什

资源类别：全集完整未删减版

总播放次数：366

21世纪(jì )初，世界警察为了(👦)应对国际(🐛)化(🌸)犯罪而在内华达州设立(📝)巨大地下(🤫)监狱“Neo Purgatory”。公元2026年，民间警备会社“Guard of Rose”的少女所乘搭的直升(👿)机突然受到(dào )美军的攻击，随后坠落到Neo Purgatory。为了保存性命，少女们开(kāi )始了(🔵)逃生之旅……

公元2024年，一种名为COVID-23的病毒肆虐(🦎)全球，突变后的病毒致死率超(👓)过50%，全球(qiú )迈入大封锁第四年。美国(😈)政府为了控制疫情，强(🐏)制将所有染疫的美国人送往名叫「Q区」的隔离营，以非人道(dào )的手段进行管理。在这绝望的世界，对(🔐)病毒免疫的快递员尼可（K·J·阿帕 饰）与女孩莎拉（索菲亚·卡尔森 饰）坠入了爱...

小(🥖)姨。容隽的声音虽(suī )然淡淡的，但却是真诚的，当初要不是我在旁边(biān )推波助澜，您和两(🌸)个孩子之间未(wèi )必会是今天(tiān )这样的状态。总归是我做错了一些事情您放心，我一(yī )定会尽(🌴)量弥补(bǔ )自己当初犯下(xià )的错。

一辆押(yā )送犯人的护送车在曲折黑暗(àn )的山路上突然遭到袭击，两名犯人被狙击(jī )手(shǒu )射杀，一名犯人趁乱(luàn )逃跑(🌄)。在此之后，负责押送的狱警多门(🔄)大二郎（水島道太郎 饰）(🥈)休假，但(⛵)是他对此事耿耿于(yú )怀，于是(🧡)展开独立调查。他以获得保释的(de )犯人香(🌞)岛五(🌻)郎（小沢昭一 饰）为突破口，却在热海(hǎi )目睹了舞(🎺)女玛丽被(🐋)弓箭(jiàn )杀害的场面，而她正是其中一名(🦕)被射杀囚徒的姐姐。

顾潇潇仔(🎁)细(xì )盯着肖雪看，肖雪被她看的一脸茫然：你看我干嘛(👿)？

张婆子开口道：大湖啊，你可不能和梅子和离！

单亲妈(🤡)妈(🗡)戴安（安妮·杜尔瓦勒 Anne Dorval 饰）大大(dà )咧咧，抽烟喝酒满口脏话，有着一颗不服输的心。她(🏚)独自抚养患有多动症、常做出暴力(🚆)行为的儿子斯蒂夫（(🎇)安托万-奥利弗·波尼安 Antoine-Olivier Pilon 饰），母子关系游走在爆炸的边缘。戴安担心斯蒂夫惹是生非，斯蒂夫迫切想(xiǎng )表达对妈...

孟行悠从(🚌)小到大就没收拾，发下来的寒假作业全部乱七八糟(zāo )地扔在课桌上，纵(zòng )然孟行舟(zhōu )已经(😟)(jīng )习惯，看见这堆东西，也免不了(le )皱眉头。

This erratically fashioned melodrama begins, with its very opening sequence, as an excessively fabricated version of the actual murder, 16 October, 1975, in (at the time, Portuguese) Timor, of five Australian television reporters, a deed committed by uniformed criminals from an Indonesian Army task force which guaranteed by this barbaric action that an invasion by Indonesia into Timor could not receive media coverage. These victims, customarily referred to as the Balibo Five, after the village wherein they were slain, are termed as the Timor Five for this film that adds as well a fictitious pair of brothers named Wild who, in dubious fashion, evaded being massacred with the others, subsequently somehow making their way back to the Antipodes, whereupon the ensuing behaviour of the brothers, four years after, is seen here. The older of the brothers, Adam Wild (Chard Hayward) makes an unforeseen appearance at Taihape, on New Zealand's North Island (where a good deal of the film was shot), therewith attempting to convince younger brother Kevin (Ivor Kants) toward reappearing with him to the employment field of broadcast journalism, obviously believing that his seniority gives him a vested advantage for sibling decision-making. However, a betrothed Kevin, wordsmith of the duo, Adam being a photographer, favours a less lively existence in Taihape over returning into the realm of manipulative media. The greatest portion of the film dodges about the Balibo Five tragedy, focussing instead upon Adam's amourous experiences, initially with Lani, a Taihape Maori harlot (Margaret Laurence {misspelled as "Lawrence" upon the VHS case), and later with Alison, a much more refined, but no less romantically inclined young woman (Jennifer Cluff). Since Adam's mere presence manifestly stokes libidinous fires within these two, the multi-drama's moments of paramount interest for many viewers will be generated by lustful actions of these three, because Kevin is shunted off-story as are the exterminated quintet of newsmen. Originally named HOUNDS OF WAR, the film is shot in the Philippines (performing as Timor), Sydney and other parts of New South Wales in Australia, as well as Taihape, but the locational shifts fails to add interest for a storyline that is deficient at giving dimension to its characters or in providing clear motivation for their actions. As result, the narrative miscarries, viewers not being given a solid impression of what eventually may occur to anyone within the plot. One notable aspect of the picture involves the sustaining of numerous beatings by Adam Wild, rivalling in number and savagery those given to numerous American private detectives in noirish works of the 1940s and 1950s. Treatment of relationships between Whites and Maoris in New Zealand is perfunctory and not developed at all, as might be expected from a film wherein a sense of reality has been removed, but not replaced with any significant activity. The players work hard at creating their roles, but lack adequate support from the direction, script and editing.

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