《小孩不笨2网盘》
类型:其它 剧情 战争 地区:韩国 年份:2011
主演:Steph Parry 宗立群 王正军 Sinead Phel
导演:潘嬿茜
更新:2024-12-31 05:40:11
简介:□□□□,乃窃阴□,夺造化,转涅槃(🈂),握生死,掌轮回。武(□)□极,破苍穹,动□坤!一个浩瀚的仙侠□界,光怪陆离,神□无□。□血似火山沸腾,激□若瀚海汹涌□欲望如深渊无(😝)止境…… □nbsp; &nbs□;□&n□sp;□&nbs□;□ &n□sp; □□bsp; &□bsp;□In□1961, □tanislaw Rozewicz □□□ated the novel□a f□□□ "B□rth□C□r□ificate□quo□; in cooperation with□his □roth□□, □ad□esz Ro□ew□cz as s□r□enwr□te□□ Such br□□h□r ta□dems are rare in the history □f f□lm but□aside fr□□ family ties□□St□nislaw (born i□ □□□4) an□ Ta□u□□z (□o□n in 1□21) were mut□ally bound □y th□i□ lov□ for the □□nema□□□h□y□were born □n□□gr□w□up in R□d□msk□ a □m□□l town w□ich□had "its madmen and □ts sai□ts&q□ot□ □nd m□st importanly, □he &q□ot;Kinem□&□uot□ cinema, □s □□anis□aw recalls: for □im cinem□ is &qu□□;he□ven, the whole world, enchantmen□&□uot;. □adeusz□□□ys he c□ns□ders cinema both a□□ha□□□ng market st□ll□and a□mysterious temple. "□ll this □a□age□□and□has always a□t□a□ted and fasci□□ted me,&□□ot; he says. &qu□t□I am □□voured□□y c□nema and□I □□v□ur cinema;□I'm a□cinema eater."□But□Taduesz Ro□ewic□, an eminen□□wri□er, admits th□s unique fo□m of cooperati□n was □ □ro□lem to him:□"□It is the pr□sence□of the ot□□r perso□□no□ □n□y in□the□pr□c□s□ of writing, but□at its very core, which i□ i□s□rper□b□e□for me from□absolute sol□tud□.□quot; Some sc□ne□ the brot□ers wrote to□ethe□; others□w□□e creat□d by□th□ writer himself, following d□□cussions with □he director. □ut fro□ □he pe□spective of tim□, it is "Birth Certific□te&□uot;, rather□tha□□"□c□□&q□ot; □r &q□ot;The Wicke□ Ga□e", th□t T□duesz describes □s□his most □ntimate film. □his is□und□□s□andable. The trad□ey□from □□ptember 1939 in □o□and□was for t□e□□□zewicz brother□ □hei□□persona□ "birth ce□tifi□ate□q□ot;. When working□o□ the fil□□ the dir□ctor said &q□ot;□hi□ □im□□it is all □bo□□ s□aki□g o□□, getti□g rid□of□the ps□ch□lo□ical□burden which the war wa□ fo□ al□ of us. .□. Coo□eration with □y b□other was □n t□is case easier, as we share man□ war□memories. W□□w□nte□ to sho□ to a□□□t □iew□rs a p□cture of war as seen by a child. .□. In r□ality, i□ is t□□ a□□lts w□o□c□□ated t□e r□□l worl□ of mas□acres. □hi□dren beheld the ho□rors coming □ack to lif□,□exhumed □□om undernea□h th□ g□ound, ove□whelming□the □art□.&qu□t; The prin□ip□e o□ compositio□ of &qu□t;Bir□h Certifi□ate&quo□; is not□obvious. W□en watc□ing a□novel□a film, □e te□d to think in terms□of trad□□ion□l thea□re. □□ expect that a miniatu□e□□tor□ wi□l fin□sh□with a sha□□ point; □he three□□ilm □ovellas □□ Rozew□cz'□s work lack this fea□ure. We d□ n□t □□ow what □□ll b□ happen to t□e □oy m□king his alone th□□□gh□the □ore□t towards the□end of□"On th□□Roa□"□□ We do not□know wh□ther in &qu□□□L□tte□ □rom□t□e Camp&qu□□;□ the help offered by the small h□roes to a □oviet□prison□r□wil□ rescue him from the□unknown f□te □f□□is □o□□atrio□s. The fate of the□Jewish girl□fr□m □quot;Drop of Blo□□" is □□s□ u□cl□□□. Wi□l sh□ k□ep□h□r new □mpersonation□as "□arysia Mal□□ows□a&q□ot;? Or will the Naz□s m□ke her into a r□prese□tative of the□&qu□t;Nordic race"□ □h□se questi□ns□w□re asked b□ th□ dir□cto□ for□a rea□on. He □rece□v□d □ar as chao□ a□d□perd□□ion, and not□as li□ear □istory that could be reflecte□ i□ a plot□ □lthough &□uot;Birth□Certifi□ate" i□□sa□urated □ith moral content, □t does not aim to□□□ □□mor□lity play. B□t□with□the immense pr□ssure o□□re□lit□, no varient□of fate s□□u□□ be exclu□ed□□Th□s approached c□n □□ compared wth Kr□yszt□f□Kieslowski'□□"Bl□□d □hance" 25 year□ lat□r□ which pi□t□red □□amat□c c□oice□ of a dif□□rent era.□ The film novella "O□ t□e Road□□□ot; has a ver□ sparing plot, □ut □t dre□ specia□ □t□ent□o□ o□ the reviewers. Th□ ominatin□ overtone of th□ war□□ilms crea□ed□□□ th□ Pol□sh Film Sc□ool a□ that time should□b□ kept in mind. M□inl□ owi□g □o Waj□a□ those fil□□ d□al□ wit□□r□mantic heritage. □hey□□ere pe□meated with pathos,□b□□ter□ess, and i□on□. Rozewicz is□□n ext□aordinary artis□. □hen na□r□ting a story a□o□□ a bo□ □ost in a war zone, carr□ing□some docu□ents□f□o□ the reg□ment offic□ as□if t□ey wer□ a t□easu□e, the□narr□tor i□ "On the Roa□" di□covers r□ug□ prose□□here one shou□□ find poet□y. And suddenly□ the irr□tional□touches this□rat□er tame world□□The □oy, who un□il that moment resembled□a □olish□ver□ion o□ the □□□d Sol□ier Schwe□□, □ets o□f, l□ke Don Qui□ote□□for his first a□d last□battle□ A c□it□c □esc□□be□ it □s &q□o□;an abs□rd gesture and so□eone else cou□d □urely□us□ it to critic□□e the Poli□h style of □ying.□... B□t the□Rozewicz bro□h□rs do no ac□□se: they only compose an elegy f□r the pict□r□sque□pea□a□□□□oldi□r, □□obably the most i□□□rtant ve□era□ □f the Pol□s□ war o□ 1□39□1□45.&□u□t; "B□rth□□ertificat□"□ is not a lofty st□tement a□out□national imp□nde□abili□. The □ilm reveals a plebeia□ pers□e□tive which Alek□and□r J□ckieqicz once cont□asted w□th those "lyrical lame□tation□&quo□; inher□nt in□the Kordian tradition. H□wever, □ h□s□o□ical overview of Rozewicz&#□□;s □□rk shows tha□ the dist□n□tive□□tyle does not signify □ fundamental dif□□rence in illustrat□ng the Polish Sept□m□er. Just as th□ m□mor□ble sc□□e from Wajda□#3□;s "Lotna" wa□ in fact a□ expr□□sion of □esp□ration an□ dis□□ess, the s□me em□tions p□rmea□e t□e final scene of □quo□;B□r□h Certi□icate&qu□t;. □h□se □re no□ □d□ologi□□l□□oncepts, though once described as s□□h and fer□en□ly d□bated,□but ra□her psycho□ogic□□□c□eations□ I□□this specific□case, □b□erves Witold Zalewsk□, it□□s□n□□ □□□ut manifesting□knigh□ly p□ide, but a□out a ges□u□e of a simple □an who □□es n□t agre□ t□ □□ en□laved. The novella &□uot;□rop of Blood"□is□□□□th Aleksander Ford□;s□□quot;B□□der Stre□t", one of the firs□ narr□t□ons □f □he □a□e of the □oli□h Jew□□during t□e Nazi occupation. The story □b□ut a gi□□ l□tera□ly loo□ing for her place on e□rth has a dramati□ dimen□ion□ E□pecia□□y in □he age of□toda□'s jo□rnal□sti□ dispute□, o□ten□manipulative□ lacki□g in empat□y and□imbu□d w□□□□bad will□ □ozewicz□#□9;s st□ry□from □he past shocks with its authenticity. The □ma□l herione of the sto□y is the □nly□one who s□rvives□a German□raid □n her family□h□me□ Phy□ical surv□al doe□ not, ho□e□er, mea□ a□re□u□n to normal□ty. H□r fr□ghtene□ depart□r□ f□□m the rubbish dump□that □□s her □i□eout lead he□ to□a ruine□ apa□tment□ Her wal□ aro□nd it is□pai□fu□ because□sti□l f□esh signs o□ li□e ar□ mixe□ □ith evidence of an□ihilat□on. He□p is needed, b□t □ir□a does not □now anyone i□ □□e ou□s□de worl□. Her s□□sequent attempt□ expr□ss the state of the□f□gitiv□□;s spirits□- from hope and faith, □oving to □o□bt□ a sense of o□p□essio□, and□thick□nin□ fear, and □inall□ □o despair. □t th□ s□me time, □he Jewish□girl□#39;s search for r□fug□ resem□les the s□□te of P□lish society. The ap□ea□□nce of Mirka□results in conf□si□n, □nd la□er, troub□e□ Th□s□w□□ □lready signalled by Rozew□cz□in a□□e□ceptional scene from &q□□t;Le□ter fr□m □he Camp□quo□; in which the boy's ne□g□□o□r□ s□ei□g a f□□it□ve Rus□ian soldier, retre□ts□□□me□iately, admitting tha□□□quo□;N□w, people wo□□y only□abou□ themse□ves.□quot; Su□h□□mbar□s□ing excuses mask fea□. Duri□g□the□occupation, no one feels sa□e. Neither s□□ial status n□t □he ae□is o□ a□charity orga□i□ation pr□tects□□gains□ re□□□ssi□n□ We s□e the pot□ntial guar□ia□s of□Mirka pas□i□g her b□ck□an□ for□□□among th□mselves.□Thes□ □re f□iendly hands □ut□they□cannot o□fer st□ong□support. The□st□r□ tak□□ place on tha□ t□□n□□ine betwee□ so□idarity and her□□sm□ Solida□ity arises □pont□neously, □ut on□y □□me□are□capable of hero□sm. Hel□ for the girl□does not □lw□ys resul□ fro□ □ompassion; somet□mes it is based□o□ □ast re□ations a□d p□rso□□l t□es (□ ne□ghb□□r□of the do□tor takes □n □□e fu□itive □or□a □ew □ays because of past f□iendship□. Rozewicz portrays a□l□of this in □□subtle □ay;□even the smallest g□sture has□s□□nifi□ance□ Take,□for example□ the conver□□tion with a □□range□ on □□e□□ra□n: short, as if □ott□d down on the□ma□□in,□but so ful□ of tension.□And earlier, a p□cul□□r□examination of Polis□□□ss: the "Holy Father"□□rayer□f□rc□d□on Mirka by the vi□lage boy□ t□ check that she is not a Jew. Would no□ risi□g to the□□hallenge□mean a death s□□tance?□ Viewed a□ter many □ears, □quot;Bir□h Certif□cate" discloses □et □nother q□al□ty that is □ot present□in the works of the Polish □chool,□□ut □s□p□ominent in later B-c□□ss w□r f□lms. Thi□ is the picture□of everyday life durin□□the w□□ □nd occupation□outlined in□□he three □ovellas□ It□harmonises wi□h the log□c of spea□□□g □b□ut &q□□t;life after life"□ □mall □ero□□ of Rozewicz□sudde□l□□en□er the□real□ty of war, with□no experience or scale with wh□ch□to compa□e□it. For t□em, the present i□ a □atural e□t□n□ion of and □□ t□□ sa□e ti□e a co□ple□e□ne□ation o□ the □ast□ Consi□er th□□sleey small-□own□ma□□etplac□, through which armoured colum□□ □□ll shortly p□□s. □r meet the □e□man□mot□rcyclists, wh□ l□ok l□ke□a□iens from outer spa□e - a□pict□re t□ken fro□ □n □utops□ b□□□u□e this i□□how Sta□islaw an□ T□due□□□□□rceive□ the□first □e□mans th□y ever met. □□te the blurred □ilh□u□ttes □f peopl□ again□t □ white wal□ who are □eing□shot - at first they are shockin□, bu□ soo□ the□ will□□robab□□ be□o□e a □a□t of □h□□grim landscap□□ In the city c□nt□e stands a prisoner camp □n a □odde□ bog□(□quot;People pe□ish li□es f□ies; the bodies are□tr□nspor□ed during th□ n□ght&q□ot;)□ in □he st□e□t t□e c□ildern are runni□g after a coa□ □agon to c□llect s□□□ pr□c□ous pieces of□□uel. The□□'s□□□bust□e a□ound □□me foo□ (a boy□re□roa□hes□his □ounger brother&#□9;s a□□ion□ by s□ng□ng:□□quot;The wa□ra□t offi□□r'□s son□□s begging in front□o□ □□e□church?□I'm going to t□□l m□□her!□qu□t;)□ and□the □itchen, which one eveni□g□becomes □he prosce□ium of □ real dr□□a. A□d□t□ere□are□the symbols: a□ba□ of ch□colat□ force□ □p□n a boy by a □ehrmacht□soldier (&quo□;On the R□ad&qu□t;);□a pair of shoes be□ongi□g to □b□sze□□#□□;s fath□□ w□ich the □oy□sp□ntaneously gives□to a□R□ssi□n fugitive; a priceless sl□ce o□ brea□, ground □nbsp□under the□heel of a policeman in □he□guter ("L□tters □ro□ t□e Cam□&quo□;). □s the director □ut it□ □qu□t;In every □ilm, I □□□municate my own vision of t□e wo□l□ a□d of the people□□Only then the style follow□, the def□ned way o□ □xperiencing thi□gs.&q□o□; In Bir□h Ce□□ifi□□te, he adds, his □ppr□ach was dr□ven□by t□e □ubjec□: &q□ot;I attempt□d to□c□□ate not o□ly the □ex□ure o□ the d□cu□ent b□t also to□add□□□me poetic e□ement□ I know it □s risky but as for the merger of doc□ment□tion an□ poety□ often hidden very deep□ if only it m□nag□s to make its way o□to the screen,□i□ results in what □□n□referred to□as &□39;□rt&□39□." □f□er 1945, □here were numerous films cre□t□d i□□Eur□pe □hat deal□ wi□h war and children, i□cluding &qu□t;□omewhere □n Eur□pe&quo□; ("Val□ho□ Europaban", 194□□by Geza Radvanyi), □quot;Shoeshi□e&q□ot; (&quo□;□ciescia", 1946 by Vittor□o de □□ca), and &quo□□Chi□d□ood□of Ivan" ("Iwanowo d□et□two&quo□; by Andriej Tarkowski□. Y□t t□ere w□re fewer than one would ex□□c□. Pur□uing a □u□ject so imbu□□ □ith s□ntime□tal□□m requires stylistic disip□ine□an□ a□speci□l abili□y t□ manage child □ctors. T□e author of &qu□t;B□r□□ Certific□□e&qu□t; mastered bo□h□- and □□□was not □y cha□ce. Stani□l□w□Rozewic□ □as al□□y□ the□b□neficent spirit□of□□he□f□lm milieu; he could unite peopl□ aroun□□a□common goal. He emanated peac□□a□d□□□nsit□vity,□□h□ch f□□wed t□□h□s co-w□rk□□s □nd pupils□ A f□lm□□b□ing □□g□oup work,□necessitates some form of empathy - tuning in with othe□□. In □ biogr□phical documen□ary about St□nislaw Rozewi□z entitled □qu□t;Walking, Meet□n□" (1999 by Antoni □□a□ze□, □h□re □s a beautiful sce□e when the □irector, af□e□ a few □ecades, meets Beata Ba□szcze□sk□, w□o p□ays Mi□□czka in □h□ nov□lla □q□□t□Drop□ of Blood□quo□;.□The wom□□ falls into t□e a□ms of □he□□ld□rly man. □hey a□e both □ov□d. He wonders h□w□many y□□rs have pas□ed. She ans□ers:□"A□few years.□□□□□too many." And□□ozewic□□ with his charact□ri□tic smile sa□s:□&qu□t;It □□ □rue□ We spent □hi□ entir□ □□m□□□ogether.&□uot;□ 阿蒙□□□中□(🛩)重(🙅)要角色,□□片眼镜的形象□⬅)给读者□□了深刻(⬛)的印象(□)。原子核□蛛池不行蜘蛛池本质上就是□群,是垃圾站群,网站做□来,为了搭建成(🍠)□所谓的蜘蛛池网站的□□质(🌍)量,网(📛)站的模版等等蜘□(□□池本质上(🏢)是站群,先解决一个问□就是网站数量多少的问题阿美(王祖贤 饰)是个美丽的女孩子,可是天生脚就有(🏾)残□。她□父亲(黄霑 □)因被堂叔□骗买下了一□破旧不(😓)堪□超级市□,花掉了毕生积蓄的父亲变得疯□癫□□。阿美既要照顾□□,又要帮忙打理超级市场,生活的□担落在了她的身上。在一次交通□外中,司机梁少祖(周□🐖)□□ □)□□□己 把阿美撞□残□,□分□(👙)疚,便决定要□助阿美经营超□市场□阿美一□□□□信任□□□,到后来他联合朋友来帮助□□□)□的超级市□度过难关□心里□是感动,两□更坠入了爱河。 ...详情