Two old prostitutes go back to their hovels. One of them has problems with the teenage daughter and the husband devoted to cross-dressing. The other one lives completely alone, with no ties. However, that night they have an appointment to celebrate the in-ring victory of two midget wrestlers. The film is based on the true story of two wrestlers found dead in a Cuauhtemoc hotel in Mexico City, presumably poisoned by the two women.

【注】：原添加者使用了动画《甲贺忍法帖》的信息，占用了该imdb编号，现在更正，请大家注意更换收藏，抱歉。—— 豆瓣

Direct Action documents the everyday of one of the most important activist communities in France in order to see how the success of a radical protest movement can offer a path through the climate crisis facing us all. 　　Following the principles of Jean Rouch’s ethnographic filmmaking and Wiseman’s immersive approach, Direct Action is a unique and hypnotic portrayal of a community which is not circumscribed to its violent interactions with the State: thanks to their meticulous observation, the directors document a highly singular political movement where it is still possible to conceive a better tomorrow.

Direct Action documents the everyday of one of the most important activist communities in France in order to see how the success of a radical protest movement can offer a path through the climate crisis facing us all. 　　Following the principles of Jean Rouch’s ethnographic filmmaking and Wiseman’s immersive approach, Direct Action is a unique and hypnotic portrayal of a community which is not circumscribed to its violent interactions with the State: thanks to their meticulous observation, the directors document a highly singular political movement where it is still possible to conceive a better tomorrow.

Direct Action documents the everyday of one of the most important activist communities in France in order to see how the success of a radical protest movement can offer a path through the climate crisis facing us all. 　　Following the principles of Jean Rouch’s ethnographic filmmaking and Wiseman’s immersive approach, Direct Action is a unique and hypnotic portrayal of a community which is not circumscribed to its violent interactions with the State: thanks to their meticulous observation, the directors document a highly singular political movement where it is still possible to conceive a better tomorrow.

我本是凡间道观里潜心修道的道士，日日诵经练气，只求勘破大道玄机，却不料一场天雷异象，竟将我的神魂卷入时空乱流，径直坠向了鸿蒙初开的洪荒世界。再次睁眼时，我已失去人身，化作周山深处一块不起眼的顽石。神魂与石身相融的瞬间，盘古开天的壮阔虚影在脑海中炸开 —— 这方巨石，竟是创世大神盘古身化洪荒时，遗落在周山山腰的一节手指所化。石体内流淌着精纯的开天功德与先天灵气，还藏着盘古大神的修炼感悟，这等逆天跟脚，是前世修道数百年都不敢奢望的机缘。但洪荒凶险，我虽有盘古后裔的底蕴，却尚未化形，只能沉下心来，借着先天灵气淬炼神魂静待化形之日，以道士的道心驾驭盘古的神力，在这荒蛮天地中走出一条属于自己的修仙之路。

秦牧被妻子林月柔和兄弟萧逸风背叛，苦心谋划二十年，终于复仇成功，也因此得罪了萧逸风背后的萧门，为了对抗萧门，秦牧进入圣渊，试图找到打开葬仙碑的方法，意外进入葬仙碑空间世界，遇到被困在葬仙碑万年，等待夺舍的不灭仙王，与夺舍失败的不灭仙王达成协议，在不灭仙王的帮助下登上仙路之巅。

1848年，匈牙利爆发了由Kossuth领导的反抗奥地利Hap***urg统治的民族运动。不幸的是，这次革命失败了，奥地利人的霸权重新确立了起来。为了彻底根除传说中的Sandor Rozsa游击队，军队把嫌疑人集中关押在野外一个孤零零的工事中。当权者并不知道游击队的首领长得什么样子，但知道他就在这些囚犯中。于是他们对囚犯们展开了刻意设计的真假难辨的精神折磨。 　　他们找了些在农民暴动中杀过人的俘虏，加以威逼利诱。谁能在其他俘虏中找出比自己杀人更多的，或者能指出游击队首领，谁就会被赦免。长着一张懦弱面孔的主人公就是其中一个。他并不知道谁比自己杀了更多人，于是就利用一切机会了解别人，就像是军队派进俘虏中的奸细。他倒也不全是乱指认，有一次通过交谈，他了解到某个俘虏比自己多杀了一个人，于是马上报告给军队。那个俘虏被处死了。不过，这一行径终于被俘虏们察觉，他自然难逃厄运。 　　后来，因为战事变化，军队急需增员。于是俘虏们的“罪行”暂时不被追究，他们应征入伍，有的甚至是从刑场上直接前往军营的。其中有本事的人还被任命为小头目，组建了由俘虏组成的骑兵队。 　　训练热火朝天地进行着。然而，前线突然传来消息，形势又有突变，战争已经避免了。俘虏们欢天喜地，因为再也不用上前线送命。可是军官的目光仍然残忍，他又想起了俘虏们的“罪行”，命令再次将俘虏们抓起来审讯。那些人重新陷入绝望中。 　　这是杨索（Miklós Jancsó）的第一部故事片，带有鲜明的匈牙利色彩。它以现实主义为基调，平和朴素，但又默不作声地把形式主义融入其中。并且由于当时特殊的社会环境，它和许多东欧影片一样，以史喻今的意图非常明显——军队对俘虏的逼供方法和1960年代匈牙利政权的所作所为非常相似。 　　当然，作为成名作，《无望的人们》还展现了杨索不同他人的个性特征。比如镜头在几个人物之间的杨索式游动，有效地增加了影片的流畅感和空间感，这在他后来的影片中屡试不爽。就主题来说，杨索其后的几部作品也都是和这部《无望的人们》一样，选取了19世纪末或20世纪初匈牙利社会最动荡的历史年代。不过，正是因为这个原因，不了解匈牙利历史的人（可能是观众中的大多数）经常出现解读障碍。

长相思团综

长相思团综