月亮上的洞5.9
类型： 国产电影 重庆市 2024-12-05
主演： Arik Lavie Shaike Ophir A
导演： 未知
A comic and episodic satire,女学生沉沦嗯啊啊np 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.
秦笙身心俱疲的回到医院，一直在休息区待到天明,才起了身往公用洗手间走去，而她的脑海里总是不自觉浮现昨晚孟易天和李秀珍的眼神。详情
月亮上的洞
剧情简介
月亮上的洞
A comic and episodic satire,女学生沉沦嗯啊啊np 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.
他凝着她，眼中的情意多炙热，语气就都冰冷骇人“想嫁别人？除非我死！否则你注定只是我楚立南的女人！”眼看炎帝脸色阴沉，又赶紧改口“当然，微臣知道太子是出于一片好意，只是太过异想天开，没有体恤民情，贸然实行，只会舍本逐末，适得其反。”心里却不这么想，人都是拜高踩低的，他现在这个样子，早就不是当年名满西北名满京城的小王爷了，在外人眼里，司空骏掣就是个废人，可这些话他不能说。“没事不要跟我联系，不能让她死掉。”南宫玥始终不放心的叮嘱着。
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