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明朝(cháo )年间，兵部尚书(shū )麾(huī )下的百(bǎi )户段天昊(⤵)为查出(☝)倭(🏉)寇(⚫)与(✊)(yǔ(🏄) )阉(🔼)党勾(🕙)(gō(🚼)u )结(jié )销赃的证据，加(jiā )入锦衣(yī )卫，几年来一直潜藏在(zài )太监总(zǒng )管(guǎn )张公(🚯)公(🖥)身(🏵)边(🎼)。就(jiù(⬜) )在(✒)他(🤔)终(🌉)(zhōng )于得(🤳)到(dào )线索，准备与多(duō )年兄弟(dì )总旗苏子峪里应外合抓(zhuā )住(zhù )犯人(🥨)时(shí )，兵(💴)部(🤓)尚(🕟)书(🥂)刘大(🛅)(dà(🤱) )人(🧠)得(🌈)到(dào )阉党利(lì )用倭寇陷害福州(zhōu )知(zhī )府的线(xiàn )报，并派出段天昊的弟(dì )弟(🚱)段天(tiā(🧔)n )麟(🌡)到(🕢)倭(🛴)寇(💠)处(🛩)卧底(🎍)(dǐ(🤦) )。段天昊(hào )与苏子峪只得放弃到手(shǒu )的功劳(láo )，前往福州，却不(bú )曾料到(dào )竟(🌘)是(🎯)一(🖕)场(🌪)有去(😎)无(🤸)回(🤜)的(⛔)凶(xiōng )险(🕵)之旅(lǚ )。
Summer 1989, East Germany. Adam works as a tailor, Evelyn as a waitress. They are planning a vacation together when Evelyn finds out that Adam is cheating on her and decides to leave for the holiday on her own. She travels to Hungary, trailed by Adam. As the border with Austria falls, everything changes in Hungary. The frontiers are open, as the new possibilities for Adam and Evelyn to decide in which world – Eastern or Western – they want to build a happy life. Adam und Evelyn is based on the homonymous novel by Ingo Schulze, translated in more than ten languages.
不管这导演(yǎn )嗑了什(shí )么很纯(chún )的，全部都要给(gěi )你来(👧)一(yī )点(🏎)！在(🙈)澳(👺)洲(🐆)这座(🏺)曾(🗨)经(🍤)被(🌮)(bèi )称(chēng )作「无(wú )主之地」（Terra Nullius）的(de )大陆，历史以(yǐ )前所未见的观点(diǎn )重(chóng )新(📲)诠释(shì(🍑) )：(🏗)当(🐶)《疯(🍪)狂(🚧)麦(🖖)斯》末(🐹)日(👢)(rì )场景成(chéng )为难民拘留地，食(shí )人羊成(chéng )为反殖民叛乱份子，《沙漠妖(yāo )姬(jī(🌧) )》与(🐵)电(🚋)视(📮)剧《请(⌛)(qǐ(👈)ng )喜(🕞)欢(📓)我(wǒ )》有(🐩)了跨时空的酷儿对(duì )话……本片以近似DJ取样混(hún )音之拼(pīn )贴手法(🔰)(fǎ )，打开(🐧)了(👈)虚(➿)构(🔉)与(yǔ(🏳) )史(⬜)实(📓)间(😚)(jiān )的神秘黑洞，大量援引(yǐn )电(diàn )影名场(chǎng )景与历史典故，穿越时(shí )空与各(gè(🏁) )种语境(🏉)，重(🕐)写(📔)、(🚚)改(🚒)(gǎ(⛳)i )写、(👰)乱(📗)(luàn )写，全面毁坏观众的三(sān )观！这(zhè )是一部政治复仇(chóu )预(yù )言，杂(zá )揉讽刺喜(🈁)剧(🌃)、(🥓)生(🎻)态恐(🚐)怖(😻)(bù(📇) )与(🈚)公路(lù )电(diàn )影类型，写下澳(ào )洲国族(zú )神话从未被纪录的史诗(shī )篇章。
都说(💕)男人一(🐛)有(🌘)钱(🥨)就(🍋)变坏(🌽)，女人(🦍)一(☕)(yī )变坏就有钱，这(zhè )句话用(yòng )在张宝文和他的秘书身(shēn )上(shàng )绝对合(hé )适。张(🚭)宝文原(🤾)本有(✴)一(😬)个(💈)(gè(➕) )非常好(🥠)(hǎo )的前程和家庭，但(dàn )是他却(què )不珍惜，与自己的秘书(shū )走到了(le )一起。这一段(🌏)办(🈁)公(🕉)(gō(🦋)ng )室的(🍢)恋(🚹)(lià(💄)n )情(💴)导致了张宝文在事业(yè )上和家(jiā )庭(tíng )上彻底破碎。秘(mì )书的贪(tān )婪最终落(📵)到过街(🚾)老(🍍)鼠(🦐)人(👉)(rén )人(➡)喊打(Ⓜ)(dǎ(🤘) )的地步。当张宝文重新回(huí )归家庭(tíng )的时候，一个熟(shú )悉的面(miàn )孔站在了门(🍓)口挡住(🙇)了他(📲)(tā(🧞) )的(🍚)(de )视(🔩)线。
藝術(🏷)家自古皆寂寞或許(xǔ )是境界(jiè )，人到中年萬事(shì )憂(yōu )則是現(xiàn )實。在畫室洋(🍘)洋(💑)灑(🏫)灑(🛂)呈(ché(🚸)ng )現(👋)自(💒)由(👡)(yóu )雄風的裸男畫作令(lìng )他一舉(jǔ )成名，在家面對前妻懷(huái )着新歡(huān )骨(gǔ )肉(🏚)、與女(👗)兒(💾)相(🛺)處(🌯)(chù )尷(🍓)尬卻(🤪)(què(⏱) )令他一籌莫展。貝蒙特(tè )的寂寞(mò )，在於如何在著名畫家與(yǔ )單親爸(bà )爸雙(💼)重身份(🚇)、藝(👾)(yì(🦁) )術(🆓)創(🕯)作(zuò )與(🕣)家庭生活之間取得平(píng )衡(héng )。維羅(luó )（《電影就在街角》，35 屆）找(zhǎo )來合作多年(🌐)的(🍭)編(👛)(biā(💈)n )劇(jù(🎪) )兼(👈)美(🦃)指(🛐)(zhǐ )好友對號入座，還原藝(yì )術家有(yǒu )血有肉的矛盾本性(xìng )，在出(chū )世與入世(🏺)的兩難(🕖)外(🌚)，毋(👛)(wú(🍑) )忘點(🕒)點(diǎ(👭)n )超(🏺)(chāo )現實的幽默。
從(cóng )高峰滑(huá )落谷底，比從未風光過(guò )更難受(shòu )？前曼聯球(⛹)星簡東(🕊)拿變(🆕)(bià(🚓)n )身(🔺)(shē(📝)n )潦倒過(🎟)(guò )氣藝術家尤利西(xī )，那種(zhǒng )時不我與的虛空落寞盡(jìn )在(zài )眉宇間(jiān )。藝術(🤹)學(🐜)生(🔲)蒙(🔡)娜欲(🎍)拜(🕥)他(📒)(tā(💦) )為師，反過來成了他重(chóng )生(shēng )的希望(wàng )。發現身患絕症後，他(tā )由蒙娜(nà )作伴(🍸)，走出隱(📏)居(🍊)大(🥂)(dà(🐙) )宅，尋(🌁)(xún )訪(🧖)當(🐖)年被他離棄的弟弟(dì )及妻兒(ér )，坦白致歉望求寬(kuān )恕。感(gǎn )性而不感傷，碧巴(💅)達以(yǐ(💉) )不慍(🍯)不(🛎)(bú(🌯) )火(🏷)的圓熟(👺)技巧呈現破碎(suì )人(rén )生的悲(bēi )喜，冷不防遇上(shàng )慌失失(shī )劫匪來個黑色幽(🐟)默(🌈)，也(⚾)(yě(🦃) )未(wè(⛅)i )忘(🍶)留(🛸)下(🤑)(xià )孩子的善良，溫潤人間(jiān )。
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