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.

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。

20世纪90年代，小龙 （李现饰）、方圆、三皮和大四在职高学校里虚度着大把青春。小龙和方圆同时爱上了美丽的女孩冬冬 （顾璇饰）。四人偷轮船汽油卖钱的事败露被寻仇上门，冬冬也因此神秘失踪，几人从此分道扬镳。时隔多年，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出当年冬冬“失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心 。

上世纪90年代长江边的小城里，反骨叛逆的男孩赵小龙（李现饰）遇上心爱女孩冬冬（顾璇饰）及其好友小梅（张绮烟饰）后，随着初心萌动，与几位好友：方圆（董博睿饰）、大四（林晓凡饰）、三皮（刘韦伯饰）、武义（李宗雷饰）走过肆意张扬的青春时光。这段青春最终因为冬冬的失踪戛然而止，十几年后，当兄弟们都面目模糊的走向中年时，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出冬冬 “失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心.....