久道久久Fiesta en la madriguera tells the story of Tochtli, a boy who likes hats, dictionaries, samurais, guillotines, and the French. And now, all he wants is a new animal for his private zoo: a Namibian pygmy hippo. HIs father, Yolcaut, is willing to satisfy his every whim, even if that whim is an endangered exotic animal. Because Yolcaut will always manage.
亚洲爱乐
回复 :韩国首尔某个平凡的早上，广播电台Daily Topic节目的主持人尹英华（河正宇 饰）正就税率改革与听众进行连线，这时一个自称住在首尔昌信洞的普通工人朴鲁圭打入电话，大肆抱怨超高的电费和相关部门对他的威胁。尹英华颇不耐烦，以偏离主题为由强行切断电话。谁知连线无法单方面由电台方面中断，愤怒的朴鲁圭继续抱怨，并扬言炸掉汉江大桥。尹英华不以为然，进而怂恿对方想做就做，谁知话音刚落，窗外的麻浦大桥便炸作废墟。大惊失色的尹英华很快冷静下来，他决定利用这次难得的机会打一次事业的翻身仗。在他的主持下，针对恐怖分子的连线直播就此展开，无关良知的节目拉开帷幕……
范玮琪
回复 :大街上，四女正拿着照片在到处问人寻找着失踪了的Edison。雅曼似乎多次看到了Edison，怎知转眼间，Edison又消失了。翌日，空虚道长带着雅曼等人找来当地著名的天师——佛山上仙前来帮忙，但佛山上仙被Edison上了身并且和雅曼谈情，后警示众人尽早离开……当佛山上仙再次施法时却被厉鬼打败，雅曼等人只好逃走，于是在荒野里展开了一场激烈的人魔大战……突然一声“卡”，导演大喊好，原来一切只是拍戏。最后在戏外，原来演幽灵的演员和雅曼的男友Edison背地里真有故事……
雷有曜
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
