80年代末期在我国热播的墨西哥电视剧《坎坷》

80年代末期在我国热播的墨西哥电视剧《坎坷》

本剧根据同名超短篇小说集改编，以8位男女之间错综复杂的情感为线索，展现了在分离与相遇过程中，爱与成长的悄然延续。羽泽由宇（葵若菜 饰）和大崎真央（神尾枫珠 饰）是在高中时因美术而结缘的情侣。由宇深深着迷于真央专注作画的样子，全心全意地爱着他。然而，上大学后，由于异地的缘故，两人之间逐渐产生了隔阂，后来他们都步入了社会。这段“命中注定的恋情”究竟会走向何方呢……

本剧改编自同名超短篇小说集，围绕8位男女的交错情感展开，描绘在分离与邂逅之间悄然延续的爱与成长。羽泽由宇（葵若菜 饰）与大崎真央（神尾枫珠 饰）是因美术结缘的高中情侣。由宇因真央专注作画的模样而深深着迷，对他满怀爱意。然而进入大学后，两人因远距离渐渐产生隔阂，最终成为社会人。那段“命运中的恋情”将通向何处…

Mani Kaul presents a searing study in Arrival. To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film. In a collage of images held together by an engaging soundtrack we are shown the brutality and dehumanisation of city life. Perhaps the best part of the film is the scene in the slaughterhouse where Mani shows us the routineness of death – rows upon rows of slaughtered goats and sheep, all ready for human consumption. Because he refuses to sentimentalise, the effect is electric. Only once before have I experienced the same cold academic ferocity, in Franju's La Sang des Betes. Mani extends the slaughterhouse metaphor to labour-intensive areas where human beings are exploited and reduced to insignificant cogs in a giant, merciiess machine. The film raises more questions than it can possibly answer. That perhaps is its intention. 　　 　　Mani Kaul intended to capture just the temporalities of the migrated workers. However films division added an English voice over to explain the images. The film is violent to say the least and is reminiscent in parts of Pasolini's later works.

这部短剧共10集，将分3周上线，它是根据短篇小说集《即便所有的恋爱终将结束》中未在电视剧正片中呈现的故事改编而来。

这部短剧共10集，将分3周上线，它是根据短篇小说集《即便所有的恋爱终将结束》中未在电视剧正片中呈现的故事改编而来。

1899年的巴西，废除奴隶制后不久，逝者的亡灵仍在世人间游走。对于苏亚雷斯一家的女人们来说，放弃特权并适应中产阶级生活，令她们濒临疯狂。对于曾经被奴役的伊娜·纳西门托来说，在充满敌意的新世界中与所爱之人重聚，迫使她必须面对真实的自己。在巴西陷入困境的过去和破裂的现在之间，这些女性一边应对命运的巨变，一边试图创造着自己的未来。入围柏林国际电影节主竞赛单元。

1899年的巴西，废除奴隶制后不久，逝者的亡灵仍在世人间游走。对于苏亚雷斯一家的女人们来说，放弃特权并适应中产阶级生活，令她们濒临疯狂。对于曾经被奴役的伊娜·纳西门托来说，在充满敌意的新世界中与所爱之人重聚，迫使她必须面对真实的自己。在巴西陷入困境的过去和破裂的现在之间，这些女性一边应对命运的巨变，一边试图创造着自己的未来。入围柏林国际电影节主竞赛单元。

A film essay about a singular couple, Paco and Manolo, two Catalan photographers from the outskirts of Barcelona, who have been together for thirty years. Both have managed to work as a single photographer and have captured their imagery in the Kink magazine, a very personal photography fanzine with an essentially Mediterranean homoerotic aesthetic. Paco and Manolo’s style can be summarized in simplicity, the use of natural light, abandoned places and simple rooms, managing to record the Sex Appeal of the working class, an unprejudiced mix of aesthetics that goes from Caravaggio to Pasolini. The method of these artists consists in being discreet witnesses of the morbidity and intimacy of those men who contact them (through Social Networks) with the desire to be portrayed naked of all prejudice. The clothes fall, the bodies are freed and the souls end up being captured by the lens of this intensely cultured, cinematic and urban couple.