Vidheyan, the cinematic adaptation of the novel Bhaskara Pattelarum Ente Jeevithavum by Malayalam writer Paul Zacharia explores the master-slave dialectic in a South Karnataka setting. In the future, a young trainee with a corporation that runs society falls in with a group of young runaways, one of whom is escaping from a company experiment. 华(🍥)乃货车司(🗜)机，经常来往中、港两地(dì )工(💕)(gō(😙)ng )作(zuò )，虽(suī(🔠) )然(rán )同(tó(📘)ng )事(shì )终(zhōng )日(rì )游(yó(🚖)u )说(⛰)他在外召(🛐)妓作乐，但(🥝)华与妻 阿玲生活美满(🚮)，从来不为(🕹)所动(dòng )，玲(⚓)生一子后，华更深感幸(📑)福。然而玲(🍕)产后身体(➖)不适，拒与(yǔ ) 华(huá )交(jiā(🔣)o )欢(huān )，使(shǐ(🈷) )华(huá )心(xī(🚷)n )痒(yǎng )难(nán )耐。而阿红在(🔳)因在大(⏮)陆(🖤)生活... This is an interesting yet bizarre little tale of a fictional (as far as I know, anyway) experiment performed during the Stalin-controlled years in the USSR. The main character is changed from a woman into a man. This is part of a larger plan to change more women into men and have a stronger work-force/army, etc. It's a very in-depth character study of the main character, who tries to fit into a world that she (now 'he') doesn't really understand, especially since she's now a man ... Stalin dislikes the results of the experiments and has the scientist killed. The main character then goes off to live a life as a simple, unknown everyday Soviet, but is inexplicably drawn into larger and larger schemes (somewhat reminiscent of "Forrest Gump" in that way). (s)He has run-ins with different important characters, including his ex-boyfriend from his days of being a woman, as well as going on a demented quest for the nurse with whom he possibly fell in love after the operation... However, he is trapped in his life as an important Soviet married man, and in the end makes a huge sacrifice for his country (unwillingly), and the movie goes from there to an ending that is possibly happy, yet still somehow incredibly depressing. 在百(🥧)货公司上班的土屋名(💰)美被她(⏭)的(🌍)(de )已(yǐ )婚上(🖲)司包养着，曾经为了赚钱她给(🕺)一(🔔)家色情杂(🌥)志社拍过(📪)(guò )裸(luǒ )照(zhào )。最(zuì )近(🏐)(jì(🚾)n )一(yī )段(duà(🙅)n )时(shí )间(jiā(🚖)n )以(yǐ )来，名美总觉得有(🚀)变态佬跟(🍈)踪她，而且(🔊)常常接到只有粗重喘(🛡)(chuǎn )气(qì )声(🚿)的电话。后(🤒)来名美认定变态佬是(🔎)一个半路(🧦)上突然开(🌖)始跟(gēn )着(zhe )她(tā )的(de )年(niá(🍪)n )轻(qīng )男(♏)(ná(🕧)n )子(zǐ )村(cū(🍣)n )木(mù )，但其实对方只是(🏮)因为看(🌕)过(🤡)她的裸照(✊)而非常仰慕她而已。不久(jiǔ )后(🏯)(hò(🔏)u )，名美的上(🌃)司发现了(📫)她拍裸照的事情，他(😉)担(♊)心万一将(⚽)来两(liǎng )人(🏀)(rén )私(sī )情(qíng )曝(pù )光(guā(🌯)ng )影(yǐng )响(xiǎ(😩)ng )事(shì )业(yè(🆙) )，所以把名美辞退。名美(🎁)感到生活(🎷)没了希望(👊)，这时村木又出(chū )现(xià(🕊)n )了，但他能(🎅)让名美走(🐡)出阴霾吗？ A cat burglar is forced to take a bickering, dysfunctional family hostage on Christmas Eve. Set in 1950s Tunisia, the film is about a 25-year-old woman, Alia, who returns to her place of birth—a prince's palace in which her mother, Khedija, worked as a house servant and mistress. Alia had fled the palace ten years earlier, at which time she spent burying tortured memories of her childhood. In her visit to pay respects for the death of the prince, Alia wanders through the largely abandoned palace where she is confronted by these memories represented as detailed flashbacks of her childhood. She begins to piece together a narrative about her mother's sexuality and sexual exploitation in a space ordered by gender and class difference, and is re-awakened to her persistent questioning about her father's identity. As Alia negotiates her past, she also deals with her current relationship to her lover, Lotfi, who has asked her to have what seems to be yet another abortion. Her development throughout the film contrasts her awakening to a past of sexual and social servitude which many of the female servants experienced in the palace against her own contested independence fraught with pain, conflict and uncertainty. 在马其(🌄)顿，战争(😊)中(📲)的波(bō )斯(🕵)(sī )尼(ní )亚(yà )，东(dōng )正(zhèng )教(jiāo )的(📧)(de )一(🎎)(yī )位年轻(🌛)修士以沉默保护一位年轻女(🏡)孩(👣)，这位阿尔(🤖)巴尼亚女(⌚)孩涉(shè )嫌(xián )杀害一(🐯)位(🔧)东正教徒(😤)。但其实只(🍈)是误会。修士以自己的(⛅)善良(liáng )决(🍌)(jué )定(dìng )与(🍇)(yǔ )女(nǚ )孩(hái )私(sī )奔(bē(⬆)n )。 讲(jiǎng )述了(🚦)90年代，韩国(🤳)一个夜总会女郎的工(🈷)作，生活。曲(🌒)折离奇？(🤵)坷(kě )坎(kǎn )？还是一帆(✴)风顺？(📎)