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草草影视是真的吗

地区：越南

类型：法国

时间：2025-04-16 14:11:47

剧情简介

草草Lucienne Delamare and Pierre Maury are having an affair. Lucienne's husband Paul is the mayor, and a French deputy. Pierre's wife Clotilde has been weak and sickly for years. Lucienne's husband holds no excitement for her, and he is always away in Paris on business. Pierre is now the vice-mayor, thanks to Paul. Lucienne and Pierre have a secret meeting spot by a lake along a country lane. Pierre's wife dies suddenly, by suicide the town gossips believe. Pierre confesses otherwise to Lucienne. Paul proposes a shady land deal which will "benefit the town", and wants Pierre's political support and collusion. Then Paul discovers proof of his wife's affair...

67次播放

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明星主演

吴琼

林仙洲

李卓庭

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胡力

发表于6分钟前

回复 :女记者（叶德娴饰）受托跟踪采访一个忠实于精神病患者救助事业的社会工作者（冯淬帆饰），二十多年来他一直与街头流浪汉打交道，旨在引导他们走向康复，但他的行为得不到人们的响应。女记者亲眼目睹了他对垃圾佬（周润发饰）、终日游荡在菜市场的癫仔（梁朝伟饰）与康复的患者（秦沛饰）的关怀与他们辛酸的故事。康复患者其实有间歇性发作精神病，受到生活中重重压迫后，想念儿子的他持刀闯入幼儿园酿成血案......

黄志玮

发表于6分钟前

回复 :新的一年，人类和他们最好的伙伴，甜蜜、快乐抑或辛酸的故事再次上演：[AKIRA]演员中尾彬（中尾彬饰）在街头咖啡店小憩时被店员认出来，他的心中说不出的得意，可就在这时，一条和他有着相同名字的小狗出现了；[爱犬家]“爱犬家”栏目组走遍全国，拍摄那些爱狗家庭和狗狗之间发生的搞笑、有趣甚至怪异的故事；[DOG NAP]柳田家发生绑架勒索事件，渡边警部（内野聖陽饰）和部下高度重视，结果却出人意料；[妈妈的担心症]儿子终于和心爱的女孩走入婚礼的殿堂，庆祝晚宴上，男孩的妈妈美知代（高畑淳子饰）却担心其那只被留在家里无人照看的狗狗Kiss；[狗的名字]童年的伤心过往，让一郎（大森南朋饰）不愿养狗，而这时他也罹患了奇怪的绝症；[香草]在公园看到活泼可爱的小狗，奈津子（北乃きい饰）的泪水夺眶而出，她想起了最好的朋友——小狗香草。

李明洋

发表于4分钟前

回复 :Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history.

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