性的歷史
這從歷史開眼界系列?講述x愛不休引人入勝的故事,探討的假設下,公約和禁忌,揭示了令人吃驚的多樣性和永恒的人性我們的文明最引發爭議的話題的。 套裝包括: *古代文明 - 神話,儀式和性合并,以及諸神的崇拜發展道德準則。為什么美索不達米亞等同于通奸偷竊罪?在巴比倫賣y-認為是神圣的?并亂論在埃及鼓勵? *東方世界 - 以中國境內,日本,印度和阿拉伯世界的親密一瞥 - 家閨房,嬪妃,神秘,探索和性別的宗教分類。 *中世紀 - 性的信仰和習俗的演變靈感來自于宗教。從羅馬帝國的經過文藝復興時期的秋天,欲望的掩護下前往,只出現與嚴格的規定和征收恥辱。 *從唐璜到維多利亞女王 - 壓抑萌發新的神話,雖然安靜的在外面,這一時期的內部節奏與可恥的樂趣,其中包括賣y-和妓院擊敗。這成為性特質的時候...
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劇情提要
這從歷史開眼界系列?講述x愛不休引人入勝的故事,探討的假設下,公約和禁忌,揭示了令人吃驚的多樣性和永恒的人性我們的文明最引發爭議的話題的。 套裝包括: *古代文明 - 神話,儀式和性合并,以及諸神的崇拜發展道德準則。為什么美索不達米亞等同于通奸偷竊罪?在巴比倫賣y-認為是神圣的?并亂論在埃及鼓勵? *東方世界 - 以中國境內,日本,印度和阿拉伯世界的親密一瞥 - 家閨房,嬪妃,神秘,探索和性別的宗教分類。 *中世紀 - 性的信仰和習俗的演變靈感來自于宗教。從羅馬帝國的經過文藝復興時期的秋天,欲望的掩護下前往,只出現與嚴格的規定和征收恥辱。 *從唐璜到維多利亞女王 - 壓抑萌發新的神話,雖然安靜的在外面,這一時期的內部節奏與可恥的樂趣,其中包括賣y-和妓院擊敗。這成為性特質的時候...
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他年她日
在一場世紀大地震后,矗立于海中央的“重力墻”將世界一分為二,形成兩個不同的時區和重力環境,“優日區”的一天,是“長年區”的一年。長年區長大的薯仔(許光漢 飾)對來自優日區的實習醫生安晴(袁澧林 飾)一見鐘情,面對時間和地理的巨大阻礙,薯仔和安晴用盡全力雙向奔赴,以年思念,以日相見。在失衡的時空里,他們能否堅定地愛到最后,守護這場刻骨銘心的愛戀?
等待方舟
Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.