Informações
Sinopse:
Duração: 00h14m
Data de lançamento: 01 de janeiro de 1988
Genêros: Comédia.
(16 votos)
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Sinopse:
Duração: 00h14m
Data de lançamento: 01 de janeiro de 1988
Genêros: Comédia.
Jointly and respectively directed by King Hu, Lee Hsing, and Pai Ching-Jui, three major Taiwan directors of the 1970s, this film consist of three shorts with the same cast of two actors and one actress, who through reincarnation meet in three different times.
Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR comes three decades after Benning and Bette Gordon made The United States of America (1975), a cinematic journey along the country’s interstates that is keenly aware “of superhighways and railroad tracks as American public symbols.” A political essay responding to the economic histories of trains as instruments in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower's military-industrial complex speech is heard as a mile long coal train passes through eastern Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of trains, forty-three of which appear in RR. The locomotives' varying colors, speeds, vectors, and reverberations are charged with visual thrills, romance and a nostalgia heightened by Benning's declaration that this will be his last work in 16mm film.
Although Chicken does not make an appearance, Chan Ho Nam finds a new love interest in the form of Mei Ling. Meanwhile, Tung Sing returns to cause trouble again for Hung Hing, in the form of new leader Szeto Ho Nam.
The unknown life of Ukiyo-e artist Katsushika Hokusai in the Edo period, who is said to have painted more than 30,000 works throughout his life, such as "Thirty-Six Views of Mount Fuji"
San Francisco filmmaker Konrad Steiner took 12 years to complete a montage cycle set to the late Leslie Scalapino’s most celebrated poem, way—a sprawling book-length odyssey of shardlike urban impressions, fraught with obliquely felt social and sexual tensions. Six stylistically distinctive films for each section of way, using sources ranging from Kodachrome footage of sun-kissed S.F. street scenes to internet clips of the Iraq war to a fragmented Fred Astaire dance number.
A portrait of teen escort, 'Coco'.
While Kinnikuman is on vacation with Mari-san's kindergarten class at Easter Island, the young wheelchair-bound Kouichi-kun laments being with an idiot like Kinnikuman, preferring to instead be with his favorite Seigi Choujin Buffaloman. Meanwhile, the other Seigi Choujins are also vacationing at ancient landmarks.
Kako (Fumi Nikaido) is a female high school student. She lives at a restaurant run by her family in Kitashinagawa, Tokyo. Unexpectedly, Kako's aunt, Mikiko (Kyoko Koizumi), suddenly appears. Kako thought her aunt died 18 years ago. Her whole family is embarrassed by Mikiko's appearance due to a past incident caused by Mikiko. Kako is also irritated when Mikiko lives in her room. They spend the summer together.
Na tradição dos westerns clássicos, um narrador conta a história de um pistoleiro solitário que entra num salão de bar. No entanto, as pessoas neste salão podem ouvir o narrador e o narrador pode ser um pouco sanguinário.
Os dois porquinhos construindo casas de feno e varas zombam de seu irmão, construindo a casa de tijolos. Mas quando o lobo chega e derruba suas casas (depois de truques como se vestir como uma ovelha enjeitada), eles correm para a casa de seu irmão. E por toda parte, eles cantam a música clássica, "Quem tem medo do lobo mau?".