月亮上的洞7.8
类型： 最近更新 香港特别行政区 2024-04-21
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'超pen97个人视频公开视频 "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.
她拿出的是一张银行卡，但是与普通银行卡不同的是，这张卡上面有俞家的标记，服务员脸色大变。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'超pen97个人视频公开视频 "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.
我下意识咽了咽，然后艰难地对她说道“这一年，我应该都不会搬家，如果你度过了这个难关，你就还来这儿找我，这钱我必须还给你……要不然，我良心会过不去的！”那汉子却哈哈大笑起来，轻蔑地道“你们抬出孙策周瑜，以为就能吓住老子吗？皇帝老子都不放在眼里，何况是两个毛还没长齐的小子！”老者一家人听到这话，都不禁面色一变，都感到不知所措起来。饭桌上，南奴看着桌上的菜，她竟笑了，薄清寒不知道她这笑为何意，夹了一根青笋放到南奴碗中，讨好般的说着“南奴，你喜欢吃的青笋，尝尝，看味道有没有变。”只知道做贸易，但后来传言他居然贩毒，死在了一次事故中。自此给周颖的心里蒙上了厚厚的一层阴影。当时的周颖还在上警校，父亲发生了这样的事，让周颖一度的颓废和自弃，是吴队挽救了她。
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