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小雁与吴爱丽
2024 7.0分 剧情片
  小雁与Allie是两位长相一样的女人,一位为保护母亲而过失弑父;一位试图透过表演课理解人生。小雁服刑八年,刑满出狱后回到小镇,被邻里投以异样目光,人生无法重回正轨。当母亲的新男友醉后对母亲施暴,更让她感到命运似乎注定重演。当小雁和Allie的共同秘密被揭开,小雁能否彻底逃离悲剧命运?首度与妻子夏于乔合拍电影,更请来影后杨贵媚、曾国城等同场演出,配合多位曾获金马奖肯定的幕后班底,以镜像关系呈现..
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感应
2024 2.0分 剧情片
  露丝(刘玉玲 饰)和丈夫克里斯(克里斯·苏利文 饰)带着儿子泰勒(艾迪·马代 饰)和女儿克洛伊(卡莉娜·梁 饰),一家四口一起搬进郊区一处新家。克洛伊因为失去挚友而陷入悲伤,同时又常因为和哥哥不合引发争执,加上妈妈对哥哥的偏爱,让她感到无依无靠。来到新家之后,她默默感受到这个家中, 似乎有股诡异的灵异力量存在,而这股力量从一开始就围绕在她身边,并逐渐转移至影响整个家庭,让这家人必须搞清楚,这..
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无名小辈
2024 2.0分 剧情片
  影片以1960年代初的纽约音乐界为背景,讲述19岁的鲍勃·迪伦,从一名不见经传的民谣歌手迅速声名鹊起,他的歌曲和神秘感在全世界引起轰动。1965年的纽波特民谣节上,他首次在舞台上使用了电吉他,他的音乐从民谣转向摇滚乐。
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青蛇缘起
2025 2.0分 剧情片
青蛇不吃人只吃妖,但在杭州城被百姓误解。遭到驱赶和攻击。青蛇负伤逃离,遇到小鬼,两人结伴而行。青蛇进入妖域,试图救回被捉的妖族,却遭到质疑和排挤。妖王看重青蛇的能力,让她继续任务。青蛇与小鬼相处中,开始感受到人的情感,两人建立了深厚的情谊。
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特警荣耀
2025 3.0分 剧情片
内详  /
民警吕英杰凭借自身优秀的素质以及严格的锻炼,在一次银行抢劫案中帮助特警队抓住劫匪,被邀加入特警队训练营。经过专心刻苦训练,收获了成长,最终成为一名合格的特警,展现了特警队伍昂扬向上的精神风貌,向观众传达了积极阳光的正能量。
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一出好戏2025
2025 9.0分 剧情片
王梦瑶  /
本片是根据 2019 年感动中国十大人物之一的王宽真人真事儿改编,本片还原了在当时条件下一个普通退休干部带着村里几名孤儿的故事,希望通过王常宽这一事迹,用善良的暖心感染社会,让每一个人都充满了爱,让世界变得更加温暖美好!
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天马星空
2025 3.0分 剧情片
未来,地球成为星际移民交汇的“星际城”。天马座流星雨突袭地球,海棠意外发现流星碎片能致生物变异。为救亲人多肉爷爷和地球免遭浩劫,海棠与科技天才伊文、前特警秦龙踏上星际冒险之旅,他们与时间赛跑,穿越星际,力图阻止地球异变,拯救全人类。
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不想和你有遗憾
2025 7.0分 剧情片
如果当初再勇敢一点,我们的结局会不会不一样?康赛(丞磊 饰)与活泼开朗的小西(索微 饰)一起长大,他偷偷把小西当成了自己创作的灵感缪斯。为写诗康赛跋山涉水,小西也随后寻来,两个人在美丽的阿尔山找到了自己的精神乐园。在环境的改变下,两个人的爱情也面临多方考验。都说相爱可迎万难,但是爱真能赢万难吗 ,或是真的赢得了对方?
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哈尔滨
2024 9.0分 剧情片
  讲述1909年在远离祖国的哈尔滨为夺回即将落入日本帝国之手的祖国而拼命的独立斗士们的故事。  玄彬将饰演大韩义军参谋中将安重根一角,朴正民饰演比起留下的名字,更先考虑国家的独立斗士禹德顺一角,赵祐镇将饰演与安重根(玄彬 饰)一起为找回失去的祖国 而努力的独立斗士金尚贤一角,全余赟将饰演独立军孔夫人,刘在明将饰演安重根义士的助手崔在亨,朴勋将饰演日本帝国的森田雄。影片将在拉脱维亚和蒙古拍摄外景..
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把风
2021 1.0分 剧情片
  同儕像鏡子,以為照出我們是一模一樣的友,卻照出我們一模一樣的恐懼。  十七歲少年阿政,解開用鐵鍊封鎖的舊廁所,他幫嘉慶他們製造⼀個又一個的藏⾝之處。在裏頭他們躲避教官,欺負別人。阿政不斷地付出,嘗試破壞,嘗試新的說話方式,只為能找到歸屬感。萬達因⼀次的告狀,成為嘉慶⼀夥固定的霸凌對象,有天,教官發現了一切,因此換了新的鎖,開不了鎖的阿政慢慢地不再被需要,他漸漸的被拒於門外。
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粗野派
2024 3.0分 剧情片
  故事围绕匈牙利出生的犹太建筑师拉斯洛·托斯与妻子埃尔兹贝特展开。他们在二战后逃离欧洲,前往美国重启他们的事业,并见证了现代美国的诞生。然而他们的生活被一名神秘而富有的客户改变了。
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《关于在短时间内的某几个人的经过》剧情介绍

天堂电影网提供影视作品关于在短时间内的某几个人的经过高清全集在线观看的影视全集网,剧情片《关于在短时间内的某几个人的经过》全集作品的导演是居伊·德波   ,由内详  主演,关于在短时间内的某几个人的经过在豆瓣的评分为5.0,本片由小编于2025-01-25 13:26更新,希望大家喜欢,可以把《关于在短时间内的某几个人的经过》推荐给你朋友,本作品的地址为 https://www.qgnn.net/qg/index/28938.html

《关于在短时间内的某几个人的经过》简介:  Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.  These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.  Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.  Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.  Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.  The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.  Our camera has captured for you a few aspects of a provisional microsociety.  The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.  This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.  The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...  Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�  Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.  Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.  On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.  Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.  Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.  Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.  Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.  The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.  What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.  Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.  Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.  Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.  Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.  Voice 2: Years, like a single instant prolonged to this point, come to an end.  Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.  Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?  Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.  Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.  Voice 1: Really hard to drink more.  Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.  Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.  Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.  The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.  To really describe this era it would no doubt be necessary to show many other things. But what would be the point?  Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.  1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.