吉他6

In this tense tale of psychological terror, Vivian Miller (Shelby Young) is a young twenties woman who's serving out her jail sentence at a work release program in the Midwest. Her 90 days of probation takes her to The Cawdor Barn Theatre, a dilapidated summer stock theater run by Lawrence O'Neil (Cary Elwes). Lawrence, a failed Broadway director, is now reduced to staging amateur productions with young parolees and raging over the mistakes from his past. Vivian's arrival in Cawdor starts a terrifying series of events that brings Lawrence's secret past to the present. After Vivian views an old taped stage production of Macbeth, a force of evil is unleashed which soon turns its sights on her. With the help of Roddy (Michael Welch), a local outcast, Vivian sets about trying to discover who the supernatural killer on the tape is before she becomes the next victim.

1979年电视动画《机动战士高达》总集篇剧场版三部曲的第(💯)一部。

"Schwitzkasten"(Sweatbox) is a slightly run-down Berlin sauna, a sister-and-brother operation that provides stressed-out Berliners with an oasis of calm amidst the hurly-burly of big city life. With the recession in full swing, five Schwitzkasten regulars - Toni(Andreas Schmidt), Karin(Steffi Kühnert), Dani(Esther Zimmering), Monika(Laura Tonke) and Norbert(Edgar Selge) - decide to meet each Thursday at the sauna to hash over recent developments in their lives. Toni has been unemployed for a long time and now he discovers that he is impotent as well. Karin's new business is causing her to alienate her compadres - she won't stop trying to sell them things. The stuck-up stewardess Dani is heading for a fall - and the unemployment line - while Monika is grappling with whether to marry or not. Norbert, a head-in-the-sand academic, writes the speeches for his wife, a liberal member of parliament, and is learning about the realities faced by the others.

有人要请我(🙇)吃饭，你答应吗？慕浅又问。

银白色的车子行驶(🕍)上路面，片刻就融入了车流之中。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

可她忘了，魏如昀是侦察(chá )兵(🎿)(bīng )出身，怎么可能会连这么明显的细节都看不出来。

劇情簡(jiǎn )介：

涂良头上已经有了汗，绑好后(🌪)起身道：最好不要挪(🍤)动她，就这么(me )养着。不过，我方才就(jiù )说了，我只(zhī )是个(gè )半吊子(🍿)，等通路了，赶紧找个大(💓)夫(🌻)看看。