月亮上的洞7.2
类型： 动作电影 江西省 2024-07-10
主演： Arik Lavie Shaike Ophir A
导演： 未知
A comic and episodic satire,好儿子好老公好厉害的说说 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.
好宝贝。游云抚摸着玉佩，爱不释手，这可是他未来修炼最大的依仗啊，改变天地元气的流速，这宝贝要是传出去，别说廉贞大陆，其他大陆的人恐怕都会来追杀自己，但同时游云也疑惑，这种宝贝，那神秘人为什么给了自己。详情
月亮上的洞
剧情简介
月亮上的洞
A comic and episodic satire,好儿子好老公好厉害的说说 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.
“那个……那什么，小莫，我…我……我们一起吧，正好我也一个人，咱们今天好好玩玩，午饭我请。”众人看去，就见她的手臂被打得一片青紫，还有一根扫帚的签子穿破她的皮肤，鲜血不断流淌。“江小姐又不记得我了吗？我是阿瞻的未婚妻啊，你看，这是他送给我的传家手镯呢。”肖凝儿是个喜欢说话的，刚坐上马车便和一旁的小土匪自来熟地搭起话来，气氛十分融洽。
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