主演：玛蒂妮·贝丝维克 小朗·钱尼 Vanni Marcoux Mehdi Moinzadeh Igor van Dessel
导演：神森万里江
类型：动作,悬疑,古装 地区：泰国 年份：2019
简介：离婚后恢复单身的纱(shā )和（上户(🦑)彩饰）在海滨小镇的餐(💬)馆打工度(dù )日一个偶然的机会(huì )，纱和与北野（斋藤工 饰）再次相遇，约定了不再见(jiàn )面的两人，在四目(✒)相对的那一瞬间感情被重新点燃。然而这段禁忌之恋很快被北野的妻子（伊藤步 饰）发现，并(bìng )与二人产(⚾)生了(le )激烈的冲(chōng )突。与此同时，餐(cān )厅老板杉崎（平山(shān )浩行 饰）的出现，也让四个人的...Nan-Hyang runs away from home because she can't bear her inharmonious family where her father is a doctor and her mother is the president of a third rate publishing company. Nan-Hyang meets Jin-Ho and his friend Min-Su and has mutual understandings. Jin-Ho stopped studying temporarily. With them, Nan-Hyang lives at her own way and sometimes deviates from the right path. But, Min-Su's success in exam, who makes efforts in everything, makes her realize self-consciousness and return home. Jin-Ho also returns to the college.珍（金希妍 饰）和(🔶)彬（金松熙 饰）是(shì )情同(tóng )手足的姐妹，两人之间感情十分要好。某日，父亲离家出走，几番思量，母亲决定丢下尚且年幼的珍(zhēn )和彬，外出寻找(⬆)丈夫的(de )踪迹，这让这(zhè )两个尚且年幼(yòu )的孩子早早体味到了人情冷暖，世态炎凉。The hilarious aftermath of a sleepover birthday party hypnotism gone wrong as best friends Megan and Paige, along with soon-to-be step-sister Veronica...内详今敏1963年10月(💕)12日出生(🧓)于北海道(❤)，高中时候迷恋上了动画高达系列，在1982年(⤴)进入“武藏野美术大学”的(🕵)“视觉传达设计系”求学(🌽)。进入大学后，他完全地沉(chén )迷在(zài )真人片里，电影所带来的震(zhèn )撼使得今敏的作品中总是有强烈的电影气息。他还就读武(💄)藏野美术大学时(shí )，就已开始在《Young Magazine》杂志上发表漫画《虏 -とりこ-》（1984），并荣获该杂志新人赏“ちばてつや赏”第10回优(yōu )秀新人赏。以此为契(qì )机，他在1985年正式(〰)出(chū )道成为(🔳)职(zhí )业漫画家。他在90年代初期发(📀)行过(guò )多(🍏)本单行本《海归线(xiàn )》、《...餐桌(🐌)(zhuō )上，庄依波依旧自(🔳)顾自地吃东西，申望津则仍旧自(🥫)顾自(🧢)地喝酒(🍕)，同时静静看着她，仿(🛂)佛不相干的两个人，却偏偏(📿)以这样诡异的姿(zī )态坐在同一张餐桌上。被卢浮宫馆长扶养(🥡)长大(dà(🤓) )，却因为某白化病刺客杀(🕊)死馆长而被迫四处流浪的露西（洁玛·梅斯(sī )），在墨西哥(🔓)“自由摔角”大闹过(🥛)后的(🖌)难民爱德蒙（卡尔·潘）。近来“航班蛇患”事件中的生(👗)还者苏珊（芳恩(🚸)·钱伯尔斯）和来(🚫)自“X战警社区”却没有(yǒ(🖋)u )超能力的变种人彼得（亚当(dāng )·坎贝尔），这四个可怜孤(gū )儿终于走到了一起。A poignant yet understated film which focuses on the everyday hardships of an isolated Iranian community on the border with Afghanistan, Delbaran centres on the story of a 14-year Afghan refugee working in a truck stop in the 'town' which gives its name to the film. The film is unusual in having very little dialogue and offers nothing by way of explanation of the wider context of war and cross-border migration which forms the backdrop to the events that are portrayed. The characters in the film are all too aware of the conflict and the sounds of automatic weapons are always within earshot, but they are so much an accepted part of their lives that they feel no need to comment on them. And that is one of the strengths of the film that makes it so compelling a portrait of life in this remote community. At one level, very little seems to go on in the film which has the feel of a documentary without a voiceover. In fact, a lot happens off camera, as revealed by indirect images and sounds, but the main emphasis of the film is the extraordinary yet humdrum nature of life in a marginalized community. The film has a distinctive look and feel, with an emphasis on images, movement and sound, and, although one would be hard pressed to identify a conventional narrative structure or message, there are aspects that resonate in the mind long after watching it. A recurring image is of three or even four men riding a single motorbike back and forth along a dusty mountain road. An especially poignant moment in a film in which the hardships of life mean that the characters hardly ever show great emotion, is when the central character of the 14-year old boy, Kaim, is offered medical help for an ear infection: his smile lights up the screen at this small act of human kindness. Highly recommended.