Saigon: Year of the Cat
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Saigon: Year of the Cat
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Thông tin nhanh
- Thể loạiPhim Chính Kịch / Phim Lãng Mạn / Phim Chiến Tranh / Chương Trình Truyền Hình
- Ngày phát hành quốc tế29/11/1983
- Thời lượng105 phút
- Chứng nhậnĐang cập nhật
Thông tin nhanh
- Thể loạiPhim Chính Kịch / Phim Lãng Mạn / Phim Chiến Tranh / Chương Trình Truyền Hình
- Ngày phát hành quốc tế29/11/1983
- Thời lượng105 phút
- Chứng nhậnĐang cập nhật
Điểm nhấn nội dung
- Điểm TMDB: 4.6/10 từ 5 lượt bình chọn.
- Thể loại nổi bật: Phim Chính Kịch, Phim Lãng Mạn, Phim Chiến Tranh.
- Thời lượng dự kiến: 105 phút.
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Rookies Go to War
A Grand Slapstick comedy about four buddies serving in the army. Their long-suffering sergeant attempts to whip them into shape but the conflict spirals out of control.
1
A bookshop renowned for its rare works is mysteriously and filled with copies of a book entitled 1, which doesn't appear to have a publisher or author. The strange almanac describes what happens to humanity in a minute. A police investigation begins and the bookshop staff are placed in solitary confinement by the Bureau for Paranormal Research. As the investigation progresses, the situation becomes more complex and the book becomes increasingly well-known, raising numerous controversies. Plagued by doubts, the protagonist has to face facts: reality only exists in the imagination of individuals.
Hello
When Max (Eric Stoltz), urged on by "Risk Management," a self-help book for the hapless, decides to approach his fellow ferry-commuter Rory (Susanna Thompson), he hopes simply saying hello might change his life for the better. But Rory only accepts contact by contract. Max finds he can play along. As the two negotiate a whirlwind relationship on paper, Rory slowly lets down her guard; but when her unresolved personal life intervenes in the form of Donald (Kevin Tighe), Max must manage a little more risk than he bargained on.
People
People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.