月亮上的洞8.5
类型： 爱情电影 云南省 2024-03-13
主演： Arik Lavie Shaike Ophir A
导演： 未知
A comic and episodic satire,花野真衣合集 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.
起身之后拍了拍身上的灰尘，然后一只手把住了垃圾桶的盖子。详情
月亮上的洞
剧情简介
月亮上的洞
A comic and episodic satire,花野真衣合集 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.
行素没有看边郎中，把药方拿回，放到柜台上，对小伙计说“抓药！”怕惊扰了怀中的人儿一般的小心翼翼用脚推开了门，云苏轩抬脚跨进去。而此时坐在办公室里面的刘卓则是疯了眼，臭骂一句，抄家伙就要去看看究竟是谁在搞事情，这刚一出门，就撞见了一个熟悉到不行的身影。“岳风，你在这胡咧咧什么？赶紧给志远道歉！”沈曼冷冷的说着
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