杀戮都市漫画6

When a photographer encounters the practice of Vodou cartography while on assignment he becomes enchanted with the visceral artwork and ceremony witnessed. But the experience embeds itself in his psyche and his interest in vodou becomes more than an inspiration, more than a passion, more than an addiction. Through his own artwork, he creates his own destiny, a path to demonization. A complete transformation occurs physically, mentally and artistically and results in the conjuring of entities never imagined, exploring the world between the darkness and blackness.

本片(piàn )导演童(tóng )抒伟称(🏺)(chē(🚿)ng )，《追(zhuī )击者》将是福建省第一(💼)部(🎿)(bù )真正意(yì )义上还(hái )原电影(🛢)本(🔘)(běn )质、追(zhuī )求电影(yǐng )艺术(📞)的(🏚)(de )动作犯罪电影，同时他也致(🧥)力(🏁)于(yú )拍摄出(chū )自己风格(gé )的(🥛)电(🧕)影(yǐng )，更希(xī )望能够(gòu )打开(🍓)漳(🎯)州，甚至是福建的电影市(shì(🆒) )场(🏉)，希(xī )望能将商业与艺(yì )术想(💇)结(jié )合。

Two women spend a weekend together at the North Sea. Walks on the beach, fish buns at a snack stand, mobile weather forecasts. Sky, horizon, water. One of them will soon return to her family in Argentina while the other one will try to come a step closer to the ocean. She travels to the Caribbean and the foreign makes her vulnerable. Then, the land is out of sight. On a sailing vessel she crosses the Atlantic Ocean. One wave follows the other, they never resemble. Thoughts go astray, time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. And when the other one reappears in it, the wind is still in her hair while the ground beneath her feet is solid. She returns and the one of them could ask: "Have you changed?

When a photographer encounters the practice of Vodou cartography while on assignment he becomes enchanted with the visceral artwork and ceremony witnessed. But the experience embeds itself in his psyche and his interest in vodou becomes more than an inspiration, more than a passion, more than an addiction. Through his own artwork, he creates his own destiny, a path to demonization. A complete transformation occurs physically, mentally and artistically and results in the conjuring of entities never imagined, exploring the world between the darkness and blackness.

《四个春天》是一部以真(🌝)实(🕦)家庭生(shēng )活为背(bèi )景的纪(🔆)录(🛀)片。15岁(suì )离家，在异乡(xiāng )漂泊(🕕)多(🐔)(duō )年的导演以自己南方小城(🍱)(ché(👑)ng )里的父(fù )母为主(zhǔ )角，在四(📞)(sì(😐) )年光阴(yīn )里，以(yǐ )一己之(zhī(🍤) )力(🛶)记录了他们的美丽日常。在如(👌)(rú )诗的乐(lè )活慢生活(huó )图景(🚓)中(🍘)(zhōng )，影像(xiàng )缓缓雕(diāo )刻出一(🥒)个(🌡)幸福家庭近二十年的温(wēn )柔(🎨)变迁(qiān )，以及他(tā )们如何(hé )以(🤘)自(😲)己(jǐ )的方式(shì )面对流转的(😮)时(🌑)间、人生的得失起(qǐ )落。

故(😸)(gù(🎷) )事讲述了围绕著(zhe )朝鲜时(shí )代(🌷)，历(💷)(lì )史中没(méi )有记录的一夜(🙍)中(♏)，国王护(hù )卫「名(míng )剑手」(🏏)金(👒)浩与谋(móu )反武士(shì )之间惊(jī(🖊)ng )心动魄(pò )的对决。

1891年，后印象派(🎄)大(🔶)师保罗(luó )·高更(gèng )在巴黎(⛔)的(🏿)(de )艺术圈(quān )已小有(yǒu )名气，但为(🔒)文明社会的虚伪与矫情感到(🏹)(dà(🏗)o )厌烦。对于原始(shǐ )世界的(de )渴(🙆)望(🤤)驱(qū )使他离(lí )开家中妻小(🍒)，来(🧘)到南太平洋的大(dà )溪地；准(🥅)备(😹)好为追寻已(yǐ )久的自(zì )然(✒)、(💫)野(yě )性、纯(chún )粹的生活与(🌳)创(📵)作环境牺牲(shēng )一切。忍受着(zhe )经(🚖)济上的(de )贫困和(hé )精神上(shàng )的(👑)孤(👛)寂(jì )，高更走进丛林深处，认(👇)识(🗄)了当(dāng )地的毛(máo )利人，邂(xiè )逅(🦕)了原(yuán )住民女(nǚ )孩德胡(hú )拉(🖐)；(🥪)一段三角关係也若隐若现(🕶)地(🤭)(dì )缓缓浮(fú )出。这座(zuò )远方(🔚)岛(⏰)(dǎo )屿彷佛(fó )是他灵(líng )魂的故(🕴)土(🚾)，此处充满生命力的人(rén )物(😀)面(🗓)貌(mào )与地景线条都成(chéng )为(〰)他(🚠)的(de )缪思，激发他(tā )创作出艺术(👆)生涯中最具标(biāo )志性的(de )大师(🍶)之(🤼)作。