赢家2011
地区:泰国
  类型:生活
  时间:2025-07-16 05:11:52
剧情简介

Set in Ålesund, A Human Position is a slow-paced film that unfolds in successive tableaux, to form a complete picture of the subtle changes and events that make up one's life. It explores the persistence of memory and trauma, the definition of one's moral values, and the possibility of joy.Asta is a journalist in Ålesund who seems plunged in a melancholic state, for a reason we discover bit by bit. Her supportive girlfriend refurbishes design chairs and plays the keyboard, while their kitten wanders around the house. One day, Asta reads a story in a newspaper about an asylum-seeker who is being forcefully evicted from Norway after having lived and worked a decade in the country. Gradually, Asta becomes more involved in learning about the case, and she has to find her position - both in her work and in her personal life.This beautifully-crafted film, bathed in soft colours, is a meticulous observation of Asta's life after an unnamed trauma, and as external events invite her to reconsider her own relationship to reality. One newspaper article she reads is entitled, "Confronting our social conscience", which is one of the topics of A Human Position. It's also a low-key love story, with its routines and ups-and-downs, which feels very real.

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明星主演
洪佩谊
张语倢
爱伦奈维尔
最新评论(762+)

威猛乐队

发表于9分钟前

回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.


俞振飞

发表于2分钟前

回复 :電影改編自真人真事的網絡小說。三千多張PTGF相片一夜被爆出,哄動全城,一眾受牽連少女無所遁形。然而引爆這一場風暴的卻只是一名普通的白領。他叫王家俊,一年前的他仍走不出被初戀欺騙的打擊。一次朋友聚會,相貌平庸的阿良帶來高質素的女友,親密行為羨煞旁人。無意中卻被家俊發現少女只是阿良用錢租來的女友,一個嶄新的詞彙:PTGF,再次打通家俊對愛情的渴求。家俊偷偷透過IG尋找約會對象,卻接二連三遇上騙局。屢敗屢戰的他漸漸悟出真髓,短短數月,他成功約會百多名少女,搖身變成萬人景仰的PTGF達人,自稱『考試一百分』。家俊發現心儀的女學生芷純也是PTGF,既驚且喜。二人終發展成真實情侶,他們將如何面對種種的生活不協調?赤裸裸的手機世界又將如何把家俊逼到爆相的地步?得罪了那麼多人,家俊又該如何面對?


亚明

发表于5分钟前

回复 :云端之上,有一座天国赌场,天神们以人间悲欢打赌消遣。其中一个赌约,关于“真爱是否存在”,天神们挑选了一个人间男婴王三贵(胡先煦 饰),施予了他一个古怪的诅咒:凡他亲吻之物,即刻陷入熟睡,除非,亲吻真爱。三贵的诅咒被发现后,被镇上居民们视为异类,无依无靠的他踏上孤独的旅程,来到白石城,依次遇到了三个改变他命运的女孩鱼鱼(周也 饰)、霞姐(姚晨 饰)、婷婷(周依然 饰),也意外发现了美好平静的白石城,还藏着一处不为人知的黑暗腹地……


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