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備注：已完結(jié)
類型：劇情片
主演：伊波利特·吉拉爾多 帕特里克·伯利奇 莎樂美·勒魯什 迪米特里·魯格
導(dǎo)演：讓-克勞德·蘇斯菲爾德
語言：法語
年代：未知
簡介： 根據(jù)Howard Buten的(法國版)小說When I Was Five I Killed Myself(該書中文版http://book.douban.com/subject/6759296/)改編的法國電視電影。背景為上個世紀(jì)50年代的法國，故事主要發(fā)生在一家兒童精神病院。 電影忠于原著，采用小男孩吉爾的口吻講述了一個不為大人理解的故事。 "我喜歡的女孩，杰西卡，因為父親去世而傷心哭了。我想安慰她，但是她說，她不想再當(dāng)小孩，所以我們做了那件事。因為這樣，他們說我傷害杰西卡，害她住進(jìn)醫(yī)院，就把我送進(jìn)托管中心關(guān)起來。 在禁閉室里，沒有窗，沒有床，沒有玩具，只有四面白色的墻壁。我只能用這枝偷偷撿來的筆，在墻上寫下我的故事：五歲時，我殺我了自己……" 原著小說是作家霍華德．布登營銷世界30年的暢銷之作。他藉由男孩波登，描繪出一個不被理解的孤獨心靈，是如...
備注：已完結(jié)
類型：劇情片
主演：Arik Lavie Shaike Ophir Avraham Hef
語言：希伯來語
年代：未知
簡介：A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others. The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
