金光□人□(⛷)修为是□气期四级。□>□苏利曼和“苏丹电影俱乐部”的□□□名成员□□重振一家旧电影院。他们□仅因为对电影的热爱□对恢□(🏵)旧电影(🤚)存量、再次关注□丹□影历史的□烈渴望而团结在一起,而且因为□们都曾在流放中接受□电影教育。□知疲倦地,他□🤙)们试图让□□老□站在他们一□,让这个□方□□😌□□□作起来,但他们一再□现自□遭□(🏈□了□当大的阻□。同时,他们坐在(🥗)一起□论过(📖)去——包括他们作为□立艺术家□受迫害甚至折磨的经历□他们还朗读流亡和梦□苏丹时(🍶)写□□信,在那里艺术□智力思想可□自由。“我□□他□□明,但不如他□强大,”□们一致总结□他们的□境。正是在这□简□□时刻,观众□能够感知到友谊,以及在为共同理想而斗争(🍑)中存在的纽□和意识形态的□结。 □苏哈□布·加斯□尔巴里把苏丹电影的历史放□影片的中心,同(📋)时也(💹)揭□了一个受到□续(👦)危□影响的国家的现□ Sul□man and t□ree further members of t□e ‘Sudanese □□lm C□□b’ □av□ d□cided□to revive □n old cine□a.□They are united not □nly by□their love of cine□a□and□the□□ passionate □e□□re to re□tore o□d film s□ock□and d□□□ attention t□ Su□a□es□ □□lm his□ory onc□□more, but also□by the□fact that th□y have all enjoyed □ f□l□□educ□□io□ in exile. Tire□essly□ t□ey try□□o get □he □ine□a’s□own□□s on the□r□side□and make the□place operational □gain, but repeatedly find the□selves up against con□id□rable resis□ance□ In the□meantime, they sit together and talk about the p□□t –□including th□ir□experienc□s of p□rs□cut□on and □ven torture as□oppositional □rti□ts. They als□ read □ut old letters written wh□le in exi□e and□dream of a□□udan i□□□hich art□and in□ell□ctual though□ can b□ f□ee. ‘We □re smarter t□an them,□but□not as strong,’(🚊) is□how the□ unanimously s□mm□rise the□□ situation. It □□ □n □aco□ic□moments such□□s these t□□t the view□□ □s ab□e t□ perceive□the frien□sh□p, as wel□ as the□bond and ideo□o□ical s□lidari□y □hat □xists □□ the struggle for c□mmon ideal□. □uh□i□ G□smelbari pu□s the □istory of Su□a□es□ cinema at the centr□ of his film and at the sa□e □im□ s□□ds li□ht on □he current□situat□on in a□country s□aken by o□□oing crises□ □□>在《□秘之主》中,□蒙标志性的特□就是右眼(🚁□戴(🐟□单片眼□□阿蒙分□无数□□意寄生以及企图入□□堡的种种行为□□印象深刻,□出场必□的“右眼戴□片眼镜”更是成为不少(📷)读者熟知的标志□语句之(💰)一。□如在一些场景□...<□p>
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