解放(🤟)军(😑)某营(💂)房(🔓)，夜(🎃)间(🔬)流(liú(🕞) )动哨兵(🌰)孙大个子发现伙房的(de )灯亮着，过去一看，只见炊(chuī )事员小钱正抢着干活(⬅)，后来(⛪)(lá(🔟)i )经(😢)(jī(😮)ng )班长(💯)再(☝)三劝(🔏)说，小钱才离开(kāi )伙房。小钱走后，班长把面(miàn )揉好，又为同志们修补胶鞋(xié )。一(👃)会(✝)儿，小(📞)钱(🕺)悄(⛷)悄(⏰)走来(👱)，关(🔪)(guān )掉(🦕)了电灯，班长只好回到宿(xiǔ )舍。他以为小钱在睡觉，就(jiù )写了张条子叫他(🏬)起床(🍝)后(⏰)修电(🏫)灯(🔘)(dē(🌱)ng )，然(💔)后把(🚪)闹钟上到四点半，就睡下了。他哪里知道，这(zhè )时小钱正在学他的样子补胶(jiāo )鞋(🐪)(xié )。孙(🥤)大(💶)个(🌈)子(🐙)目睹(😘)这(⬇)些情(⛪)况，他来到伙房，强迫小钱回宿(xiǔ )舍休息，自己下岗后却到伙(huǒ )房(fáng )做了包子(😹)又(🙀)烧菜(🗑)汤(🤞)。班(🌼)长(🕰)和(hé(🙆) )小(🙎)钱醒(⛑)来，来到伙房见到已(yǐ )做好的包子，正要寻找帮厨(chú )的人时，大个子急忙(🌏)关了(🈲)电(🤡)灯(dē(🖱)ng )，于(❔)是(🛵)三(✝)个人(🕑)在黑暗中摸来(lái )摸去。天渐渐发亮了，大个(gè )子终于被班长和小钱发现。 盲(máng )目(🏳)标Hermoso提(⬜)供(📡)圣(🗓)穷(🔃)人微(♎)小(🎵)的拉(💳)美(měi )国家移民的罢工只作为一个(gè )作家在美国的富人和名人的(de )一(yī(❄) )名年(🧡)轻(🚚)女子(⛺)的(🚩)故(🎓)事(🏌)。当她(🦌)回(🦅)(huí )到(💯)她的家乡，以促进她的小(xiǎo )说“绝望的信” - 路人皆知暴(bào )露她的家乡土地(🛏)的政(🌋)治(🐭)腐败(🗻) - 她(🔢)(tā(🙋) )是(🏍)一个(🙁)值得欢迎的，她无法(fǎ )想象在她最糟糕的恶梦。 封(fēng )闭的环境中，人物孤独茫然(🏢)(rán )，任(🥒)凭(🛀)凛(❄)冽(🎤)的命(😐)运(😜)摆布(🐐) 香港商(shāng )人金浦以高价购入废船，引(yǐn )起台北国际刑警的注意，派(pài )出(🌦)女干(🖐)探(🐏)李淑(🤵)华(🐻)侦(🎨)查(🏡)。而金(💉)其(qí )实(🍩)是在紫阳观的掩护下贩卖(mài )一种名为‘快乐丸’的兴奋(fèn )剂，并大量(🎙)分销(🥕)各(🤾)国。美(🚡)国特(🏀)(tè(🐣) )警史(🦉)蒂芬因女友加入邪教，服用过量‘快乐丸’而身亡(wáng )，所以决心消灭‘快乐丸(🍈)’，只(🚉)身(🔝)东(🎆)飞(🎠)。金收(⭕)到(🐯)史来(🛢)港之(zhī )消息，派手下王艳艳及陈进(jìn )负责跟踪，并设下圈套色诱(yòu )史。李(🚶)乔装(♐)进(🐟)入紫(🥚)阳(🎍)观(😙)，取(🌺)得(dé(🔷) )观内治(🛵)病用之符水前往化验(yàn )所分析，并验出符水含有鸦(yā )片成份，警长方一(🧀)坤前(🕕)来(🛹)调查(⤴)(chá )... Included in Jonathan Rosenbaum’(📄)s list of 1000 essential films, Parviz Kimiavi’(😟)s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’(🥗)s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 洛杉矶警察克莱因(yīn )（乔什•哈奈特 Josh Hartnett 饰）在办案(àn )中惨遭羞辱，罪犯嗜血如(😥)命(mì(🚪)ng )，喜(👮)欢(🍇)肢(🎆)解活(💾)人(🎷)。克莱(🏃)因身受(shòu )重伤，仍侥幸活命，但心底(dǐ )留下阴影，被迫革职。3年后(hòu )，一位中(💓)国富(⛑)商(😯)委托(🎶)克(🕉)莱(😒)因(💧)帮(bā(🏞)ng )忙寻找(🐚)失踪儿子师涛（木村(cūn )拓哉 Takuya Kimura 饰），他来到香港，接(jiē )待他的是好友孟子(🌝)（余(🎾)文(⚡)乐 Shawn Yue 饰(🐢)(shì )）(🥑)，后(🧓)者亦(🏦)是警察。在警局(jú )，克莱因与师涛擦肩而过。随后，发生荒野命案，孟子(zǐ )怀(huái )疑此(👂)事为(🤖)流(🌳)浪(🥂)汉(🥔)（李(👃)灿(🔽)森 饰(👭)(shì )）所为，两人急忙赶到现场(chǎng )。与此同时，黑帮头目苏东(dōng )坡（李秉宪(😓) Byung-hun Lee 饰）(🌋)的(💸)情人(🕳)莉(🦇)莉(🥣)（(🌽)陈女(📻)燕溪 Tran Nu Yê(🐦)n-Khê 饰）被狂徒掳(lǔ )走，后者开车逃逸，也来到(dào )了荒野处，但被击毙。调查(🥎)中(zhō(👁)ng )，克(📭)莱因(📫)逐渐(🚠)发(🏻)现了(🎡)莉莉、李秉宪、师涛之间的微妙关(guān )系…… 随哥哥生活在德国的(de )土(tǔ )耳其(🛰)穷小(🍲)子(🚙)埃(🍼)尔(🔸)维兹(📝)把(🕔)妈妈(🗃)(mā )的房子抵押给了自己的财迷(mí )叔叔。为了赎回房子，他与(yǔ )朋友开了(🖇)一家(💮)性(🏨)热线(🚄)公(🚱)司(🍾)。然(🍰)(rán )而(⛄)，自己暗(💁)恋的安娜却为了(le )生计加入了他的公司。听到(dào )心爱的女人在电话里跟(🌦)别人(👖)亲(🐂)(qīn )热(🔄)，埃尔(😘)维(💽)兹心(✒)里不是滋味(wèi )。没成想经常给安娜打性热(rè )线的正是那位财迷叔叔。借(jiè )此(cǐ(⏬) )机会(🏽)埃(💩)尔(🍅)维(🚏)兹不(👭)但(🏻)从叔(🏵)叔那(nà )里赎回了房子，而且拥有了(le )自己的企业，也博得了安娜(nà )的芳心(🎠)... This is a very powerful film. Admittedly parts of it are hard to watch, but it is an outstanding piece. In a nutshell, it is about a hippie commune that has been set up by someone who believes that the best way to help the homeless and often deranged cripples in Moscow is by offering them sexual love. I did not realise (because of the black and white, and the fact I watched this film before looking up to see when it was made) that this film was shot recently in Moscow, using real homeless people in their real situations. I assumed, because of the black and white, and the whole hippie commune idea, that this was the 70s. Shockingly, this includes his real-life footage of the current situation of the marginalised in Moscow, and that upset me to the core. Obviously some of the characters are actors (or, rather, are acting), but many are simply being shot in their everyday surroundings. Let's hope that some good comes out of films such as these, in the same way that Cathy Come Home helped change the situation for many in the UK all those years ago.... Is Aristakisyan Russia's new and very own Ken Loach? We shall have to wait and see.