月亮上的洞8.9
类型： 喜剧电影 北京市 2024-05-26
主演： Arik Lavie Shaike Ophir A
导演： 未知
A comic and episodic satire,月亮上的洞 the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas'晚娘恋欲百度影音 "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.
说着，岳枫还特意往后站了站，那模样，就像是给耍猴戏的江湖艺人让场子。详情
月亮上的洞
剧情简介
月亮上的洞
A comic and episodic satire,月亮上的洞 the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas'晚娘恋欲百度影音 "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.
老头儿连连点头，表示受教，在众人的目光逼视下不得已又送了一个糖人儿给赵铭粮赔罪，这事儿才算完了。“没事儿不在国内好好呆着，跑这边来嘚瑟什么？下飞机以后，跟我回家吧。我明天正好休息，带你逛逛街。”本以为事情就这样结束了，可是谁能想到原来一切的始作俑者都是那把从九天之上掉落的刀。在大帝身死魂灭的瞬间魔刀迸发出滔天的魔气，这滔天的魔气重组了大帝的身体然后全都钻进了大帝的躯体。沈俊逸吓得赶紧抽身，从女人身上翻下，随便扯了一件衣服围在腰间，他紧张地咽了咽口水，“安然？你……你怎么回来了？”
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