第90届奥斯卡影帝加里·奥德曼 和影后弗兰西斯·麦克多蒙德曾在29年前共演过一对夫妻,超级那时还都很年轻。片子讲一个退伍军人精神崩溃,超级一心求死未遂,反被关押进精神病院。在那里他发现病人待遇极差,大夫和工作人员肆无忌惮虐待他们,于是开始了漫长而艰苦的 反抗之路...本片虽根据真实事件改编,堪称真实版《飞越疯人院》。
第90届奥斯卡影帝加里·奥德曼 和影后弗兰西斯·麦克多蒙德曾在29年前共演过一对夫妻,超级那时还都很年轻。片子讲一个退伍军人精神崩溃,超级一心求死未遂,反被关押进精神病院。在那里他发现病人待遇极差,大夫和工作人员肆无忌惮虐待他们,于是开始了漫长而艰苦的 反抗之路...本片虽根据真实事件改编,堪称真实版《飞越疯人院》。
回复 :切蒂奶奶被曾是警察的恶棍绑架,提奇和巴布于是展开疯狂大营救, 还带回一条珍贵的项链,并献上一场音乐表演。
回复 :A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”
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