月亮上的洞8.0
类型： 香港电影 陕西省 2024-02-18
主演： Arik Lavie Shaike Ophir A
导演： 未知
A comic and episodic satire,丝袜会所电影 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.
挂完电话之后，席恪又给助理打了一通电话，让他找几家媒体在带‘绯色’蹲守一则新闻。详情
月亮上的洞
剧情简介
月亮上的洞
A comic and episodic satire,丝袜会所电影 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.
被叶寒如此近距离的贴在耳边，似乎这小子要含咬自己的耳坠，万金玲只感觉心头一阵酥痒，脸上一瞬间红了，哪里还能回答他的问话。“陆寻，我当初真是瞎了眼才会把林昔让给你，我从小保护到大的人，就这么被你不断伤害。你不相信她，觉得她是恶毒的杀人凶手，但我却永远相信她。”老练的商贩早在凌晨五点就已经在杂货市场占地摆摊，沈枫终究还是慢了一步，他到市场时，摆摊位只剩下偏僻的街道角落。之后餐厅内发生了什么她不知道，佣人们很快从餐厅撤出来，里面只剩顾英爵与周晓玫，而周晓玫一直待到深夜十点才离去。
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