剧情简介
西班牙内战期间，景德面对因纳粹实验而诞生的吃人丧尸，立场敌对的几位主角必须携手合作，才能度过危机。
景德镇2020
西班牙内战期间，景德面对因纳粹实验而诞生的吃人丧尸，立场敌对的几位主角必须携手合作，才能度过危机。
回复 :香港商界头面人物何森，以做生意为幌子，借内地某厂优质免检化工产品出口之机，不断将从我国西南边境贩来的毒品偷运进港。为彻底捣毁这个国际贩毒集团，香港警署派韦南、李彤来内地协助破案。何森与毒贩尹大华密谋，让走私匪徒化装成我边民，兵分两路声东击西偷运毒品入境。另一面，韦南、李彤遇到了重重困难，先后受伤。通过媒体的报道，何森误认为李彤、韦南已死，便大胆行动起来，决定亲自去毒穴云峰厂验货。李彤擒匪心切，一人乘车前往砖瓦厂，中了毒贩的圈套。生死关头，特警队长赵杰及时赶到救下李彤。云峰砖瓦厂的地下秘道里，一伙匪徒在紧张地包装海洛因，何森与两个外国买主正讨价还价。赵杰率众冲入秘道，毒贩被一网打尽，匪首何森被李彤捉拿归案。
回复 :故事发生在17世纪的法国，红衣教主黎塞留（查尔登·海斯顿 Charlton Heston 饰）想要谋权篡位，设下重重阴谋诡计。达达尼昂（麦克尔·约克 Michael York 饰）一心想要报效祖国，于是远赴巴黎想要加入火枪队。在此过程中，达达尼昂结识了阿多斯（奥列佛·里德 Oliver Reed 饰）、波尔多斯（弗兰克·芬莱 Frank Finlay 饰）和阿拉密斯（理查德·查伯兰 Richard Chamberlain 饰），四人不打不相识，成为莫逆之交。一次偶然中，达达尼昂得知了黎塞留的阴谋，为了斩草除根，黎塞留设计令达达尼昂被判处了死刑，所幸得到了三名火枪手的救助，达达尼昂才捡回了小命。之后，四人将国王从刺客的枪口之下救出，并向绑架了国王和王后的黎塞留宣战。
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
