剧情简介
女孩霍滕西亚的父亲被电冰箱的门电击死去、中文字幕被老板炒鱿鱼、中文字幕男朋友和她最要好的闺蜜在一起了——绝望之中，她发现了自己十四岁时写的人生目标并自此信誓旦旦：“去和一个像父亲一样拥有金色头发的男孩结婚，并设计出全世界最美丽的鞋子。”然而当她没有认真去倾听自己内心真实声音的时候，事情只会越来越糟。最终她将电冰箱推向了悬崖，也不再管什么十四岁的愿望，让当下的自我去做选择。
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女孩霍滕西亚的父亲被电冰箱的门电击死去、中文字幕被老板炒鱿鱼、中文字幕男朋友和她最要好的闺蜜在一起了——绝望之中，她发现了自己十四岁时写的人生目标并自此信誓旦旦：“去和一个像父亲一样拥有金色头发的男孩结婚，并设计出全世界最美丽的鞋子。”然而当她没有认真去倾听自己内心真实声音的时候，事情只会越来越糟。最终她将电冰箱推向了悬崖，也不再管什么十四岁的愿望，让当下的自我去做选择。
回复 :寿宴之上，太子派四个女刺客伺机刺杀平亲王，为稳固自己的地位，却不曾想困兽在对战之际发怒，开始攻击在场宾客为保太子周全，风善云、风筝、风起不顾风零落反对，与兽人大战，风善云身死，其余两人暴露自己。姐妹间因此事产生间隙。为防止平亲王通过追查此案，太子令风零落潜伏于平亲王府。
回复 :空空荡荡的写字楼内，几乎所有的人都已下班，享受属于自己的快乐夜晚，只有身心俱疲的小职员查理（Napoleon Ryan 饰）还在站在复印机前，辛辛苦苦地影印材料。在这种几近崩溃的疲劳时刻，也许咖啡是唯一能令他稍感振奋的东西。突然，一件奇怪的事情毫无征兆地发生了。一张A4纸出来，上面没有任何所需的资料，只印了一个实心黑球。查理不以为意，将这张废纸放到一边，当他放置咖啡杯时，杯子竟然掉进了A4纸的黑洞里。这奇怪的黑洞引起了查理的注意，他尝试将纸挂在自动贩卖机上，结果成功地伸进黑洞拿到了里面的饮料。这时，一个邪恶的念头闪过脑海……
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
