月亮上的洞6.2
类型： 综艺节目电影 广西壮族自治区 2025-01-06
主演： Arik Lavie Shaike Ophir A
导演： 未知
A comic and episodic satire,777米奇第四最新电影 the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas'月亮上的洞 "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verit style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others. The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
“真是没用！居然让那个小贱种给比下去了！楚怜儿，你说你还能做什么？”楚飞燕看到眼前这场景，怒火中烧。详情
月亮上的洞
剧情简介
月亮上的洞
A comic and episodic satire,777米奇第四最新电影 the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas'月亮上的洞 "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verit style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others. The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
这话中带着一种令人心醉的温柔，陆婉如晃了晃神，等她回过神的时候，那个人已经领着她出了陆家。而且，他能感受到，随着战斗的进行，叶晨挥剑的动作越来越熟练，越来越一气呵成。甚至，从那凌天剑中传过来的力道也变得越来越强大。“不然还有谁？你怎么满头大汗？还是因为那晚的毒箭？”纯香看着古怪的白九歌，突然想起仵作死的那晚。她好奇地看着大门，正在纳闷儿什么门这么智能，幻想着有朝一日自己挣了钱，也给家里换个这种门，设置成一个程序，看到老爸就不让他进门。
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