《我在健身房被教练弄了》

类型：恐怖 喜剧 冒险 地区：马来西亚 年份：2016 

主演：朱岳 David Pearse  赤羽根健治 葛兰 

导演：纪尧姆·皮埃雷 

更新：2024-12-19 14:41:44

简介：□<□>12□□书网是□个提供免费小说(♒)在线阅读(⏰)的网站(🌐)□收集□广□的小说□(🔂)源，包括奇幻□(🔚)首席□🦀)执行官、时间旅行、浪漫和(🌫)□廷阴谋等类型。该网站具有快速的加载速度和流畅的页面翻转，并允许用户根□自己的□好调整字□□□...

In 1961, S□an□sl□w Rozew□c□ cr□ate□□□□□ novella f□lm "Bir□h□Ce□tificate" in coo□era□i□□ □□□h□his b□oth□r, Taduesz Rozew□cz as sc□eenwr□t□□.□Such brothe□□tandems are rare □n □he his□or□ of□film b□t aside fr□m□fa□ily ties□ St□nis□aw (b□r□ in 1924) a□□ Ta□uesz□(bo□n in □9□1) were mutu□□ly bound□by their lov□ for th□□ci□e□a. They were born and grew up in □a□om□k,□a small tow□□whic□ had "□its madm□n□and its sa□□t□&q□ot; a□d most importan□y□ t□□ &q□o□;Ki□ema&q□ot;□cin□ma□□as S□anisl□w reca□ls: □or h□m □□□ema is□"□eaven, the w□ole wor□□□ enchantment"□. Tadeusz □a□□ □e□con□ider□ cinema both □ c□□□□ing ma□ket st□ll and a□myst□riou□ □emple. &quo□;□□l this□savag□ □and has a□wa□s attracted and fascina□ed □e,□qu□□; he says. &quo□;□ am devoured□by cinema and I□□evour □inema□ I&#□9;m□a cine□a eat□r.&q□□t;□B□□□Tad□esz Ro□ewic□, an eminent wr□te□, a□m□□□ this unique form □f □ooperati□n was a prob□e□□to him: "I□ is□t□e □□esence□□□□the□□ther person n□t only in the □□ocess □□ w□itin□,□but □t its very core, which □s inserperabl□ □or m□□from□abs□lute so□itude.□quot; So□e scenes th□□bro□hers wrote together; others w□re created by the w□iter himse□f, foll□wing discussions with □he □irect□r. B□□ fro□ the pe□□p□ctiv□ of time, it is□&□uot□B□r□h Certi□icate□qu□t;, rath□r than &quo□;Echo□quot; or "□he□Wic□ed Gate&quo□;, □hat Tadue□z d□scri□□s□as hi□ m□st i□tima□e □i□m. □his is understandable. Th□ tradgey from □eptember 1939 in Pol□nd was □or t□e R□zewic□ brothers t□eir personal "bi□□h certificate&□uot;. When w□□king on□the fi□□, the di□ec□or sa□d &q□o□;This □ime□□t □s all□abo□t sh□king o□f, getting rid □f the□ps□chol□gica□□burden □hich the war w□s for all of us. ... Coope□ation w□th□m□ broth□r was in□this case eas□er, □s we□share □□ny□□ar □emor□es. We wa□ted to s□ow to adult□vie□ers a pict□re of war as □een by□a chil□.□.□. I□ reality,□i□ is the adults who cre□ted the r□al wo□ld □f massacres. Children be□eld the horrors comi□g b□ck □o li□e, exhumed from unde□neath the □round, o□erwhelmi□g t□e e□rth."　　Th□ prin□iple of composit□on o□ □quo□;Birt□□Ce□tific□t□&qu□t;□is not obvious. When□w□tching a□novell□ fi□m, we□tend□□o thi□k□in t□rm□ o□ tra□it□onal theatre. We expe□t that□a □□niature □to□□ will finish wit□ a shar□ point;□the□three film novel□as in □ozewicz's w□rk lac□ this featur□□ W□ do□not □□ow wh□t will □e □appen to□□he boy making his alon□ through the □o□est □owards t□e end of "O□ □he Road". We d□ n□t □now □h□ther i□ &□uot□Letter from□th□ □am□□quo□;, the he□p offered by □he □mall□heroes to a □oviet□prisoner will rescue him from the unknown fate □f□hi□ co□patriots□ Th□ fate of the Jew□□h gi□l□fro□ &quo□;Dro□ □□ Blood" is also u□cl□ar□ Wil□□she keep her□new□imperso□ati□n as &□uot;Mar□sia Mali□owska"?□Or w□ll the N□zis make he□ into□a re□resenta□i□e of the "Nordic r□ce□q□ot;? Those ques□ions w□r□ as□ed□□y the director for a reason.□He p□eceived war as chaos and perd□tion, and not a□ l□ne□r his□ory that could be r□□le□ted in a □□□t. A□t□ough□"□Birth□C□rtificate"□ is satu□ated w□th m□ral co□t□n□□ it does not□aim □o be a□m□rality play.□But wit□ □he i□m□nse pres□ure of r□ality□ no v□rient of□fa□e should be exc□u□ed. This □p□roa□hed □an □e com□ared □th K□zyszto□ K□eslowsk□□#39;s "□Bl□nd C□□n□e&q□ot□ 25 years la□□r, whic□ pictur□d d□amati□ choice□ of a d□fferent era.　　The f□lm□□ovella "On □he□□oa□&quo□;□has□a very s□□ring p□ot, but it drew □pec□al attention of the□revi□□er□.□□he om□natin□ overtone of the □ar films created □y th□ □ol□□h □□lm Sc□ool at th□t ti□e s□ou□d □e ke□□ i□ m□nd.□□ainly ow□ng to W□jd□, th□se □ilm□ dealt with □oman□ic heritag□. They wer□ permeated with p□thos, bitterness, an□ irony. Rozewicz is□an extraor□ina□□ ar□ist. Wh□□ na□rating a sto□□□about a boy□lost □n a war zo□e, □arryin□ s□me d□cuments□fr□m the regiment office □s if they were a treasure□ the n□□r□tor in □qu□t;On th□ Ro□d" d□scover□□r□ugh prose where on□ sho□ld find poetry. And suddenl□, □□e i□r□tional to□ch□s th□□ rat□□r□□ame w□rld. The boy, who□□ntil th□t moment re□embl□d a P□lish v□rsion of □he Good S□ldier□Schweik, set□ □ff, □□ke Don Quixote,□fo□ his f□r□□ and la□□ battl□.□A □r□tic described it as &□uot;an ab□ur□ g□sture and som□one else could surely us□□i□ □o cri□□cise t□□ P□lish sty□e of dying. ... But the Rozew□cz b□other□□□o□no accu□e:□they only□compose an elegy□for t□e pict□resque pea□□nt-□old□e□□□probably the□most impor□a□t vetera□ of th□ Pol□□h war of 1939-1945." "□Bir□h Certificate" □s not a lofty□st□tement □□out national i□po□derabi□□a. The □ilm r□veals a plebe□an□perspective□□□ic□□Aleksan□er J□ckieqicz on□□ con□ras□ed wit□ th□□e □quot;□yr□cal lamentatio□s&quo□; □nherent in t□e Kordian tradition.□□ow□□□r,□a□□istorical overview of Rozewic□□#39;s □ork□show□ th□□ the □i□tinct□ve style□d□es not□sig□ify a fundamental differ□nc□ in i□lustra□i□g the Po□□□h□□eptember□ Just as the me□o□ab□e scene from Wajda's &q□ot;Lotna&quo□; □as in fact an expr□□sion □f des□erat□o□□□nd□dist□e□s□ the□sa□e□emot□ons pe□meate th□ fin□l□scene□of "□Birth Ce□tif□cate"□. □□ese □re□n□t □□eol□gical conc□pts, th□□gh □nce described□as□such and□ferve□tly debated, but ra□□er psyc□o□o□i□al cr□ations. In this spec□□□c □ase□ observes W□told Zale□sk□, i□ is not about mani□e□ting kni□htly □r□de, but□ab□ut □ gesture of a simple□man who does □ot agree to b□ enslaved.□　The□□ov□lla "Dr□p o□□Blo□□□□uot; is, w□t□ Aleksande□ For□&□39□s "Bo□der Street", on□□o□□th□ fi□st na□rations of the □□te of the □olish □e□s during the Na□□ occ□pation. Th□ st□ry □□out a □ir□ li□erall□ l□oking for□her pla□e □n earth ha□ a dr□ma□ic d□men□ion. □specially in the age□of t□da□'s jo□□nalistic disputes, oft□n manip□lativ□, lackin□ in □mpathy a□d imbu□d□with□b□d□will, Ro□ewicz&□39;s story □rom the pas□ shocks with □ts □uthenticity. The s□all □er□one of t□e s□or□ i□ the only on□ w□o s□rvives a German ra□d on her family□home. Physica□ s□rvial does n□t, however,□me□n a ret□rn to normality□ □er f□ig□tene□ departure f□□□ the rubb□sh dump t□a□ was □er hideout lead □er t□ a□rui□□□ apartment. He□ w□lk □round it i□□painful beca□se□s□ill □resh sign□ of lif□ □re mixed w□□h ev□dence of a□nihilation. H□lp is□needed, but Mirka does □ot kno□ anyo□□ in□th□ outsi□e□world. Her s□□sequent attempts express the□sta□e□□f th□ □ugitive□#39□□ s□irit□ □ fro□□hope and fai□h□ mo□i□g to doubt, a sens□ o□ oppression, □nd□t□ic□enin□ fear,□and fi□al□y to d□s□□ir.　　At□t□e s□me □ime□□the Jewish girl&#□9;s□□earch for □efuge resem□les the stat□ of Po□□sh s□ciety. The□appearance□of Mi□□a□resu□ts in co□fusion,□a□d later,□troub□e. This was al□eady□□ignal□ed b□ R□ze□icz in an excep□ional sc□ne □rom □quot□Letter from the□Camp"□in □h□ch t□e boy&#□9;s neighbour, □□ei□g a fugi□ive□R□ssian soldier, retreats imm□diately, □dmitt□ng that &qu□t;Now□ p□o□le worry only about□□h□□□elve□." Such □mbarassing□excuses ma□k f□ar. During t□e occup□tion□ no one feels safe.□Neither so□ia□ status not □he aegi□ o□ a ch□rit□ □rganisatio□ □rotects against repress□on. W□ see□the potent□□l□g□ardian□ of M□rka passing h□r b□ck and forth among th□mselves. These are fri□ndly hands b□□ they c□□not offer stro□g su□p□rt□ The sto□y t□kes place on that thin□l□ne betwe□n □olida□ity and he□□□sm. □ol□d□□ity arises s□o□t□neously, but only□some are □apable □f hero□sm. Help for the girl does not□a□way□ resul□ from□compassion□ someti□es it□is bas□□ on past r□□ations and personal□ti□s (a □e□ghbour of the □□ctor□takes□in the□□u□itive for a few days□bec□use of pa□t friendsh□p). Ro□ew□cz po□tr□ys all□of this in a s□btle □ay; even the□sma□l□st gest□□□ has si□nificance. Take,□for e□ample,□the con□□rsation with a stra□ger o□ t□e t□ain: s□ort, a□ if jo□ted □own on the □a□gin, but so□fu□l of ten□□on. And earlier, a pecul□ar exa□ination□of Polishness□□the "Holy Fat□er&quo□; p□ayer□forced on Mir□□ by □h□ village □oys to□check that she i□ n□t a Je□.□Woul□ not rising□to the challenge□□ea□ □ deat□ □enta□ce?□　Vi□we□ after ma□y years, □q□ot;Birth Certi□ic□□e"□dis□loses yet another quality t□at is not pre□ent i□ the □orks□of the Pol□sh S□hool□ but is prominent in □ater B-class wa□ fil□s. This is the □ict□re□□f everyday life d□r□ng the war and occup□tio□ outlined □n t□□ t□ree n□vellas. It harmonises□with the logic of s□ea□ing about &quo□;life a□□er l□f□". □m□l□ her□□□ of Rozew□cz□suddenly □nter□th□ reali□y of□w□r, with no exp□rienc□ or□□ca□e with which to com□are it. For them, t□□ present□is □ □atura□ extensio□ of □nd at □he sam□ time □□c□mplete □e□at□□n of □he pas□. □onsider the s□eey s□all□t□wn marketplace, □hrough□which armour□d columns will shortly pass□ Or meet th□ German □ot□□cyclist□, who loo□ like alie□□□from o□ter□space - a □ic□ure taken f□om□an□auto□sy because □□is i□ how Stanislaw a□d Taduesz p□rceived the fi□st Ger□□ns they ever met. Note□the blurred silhouet□es□of people against a whi□e wa□l□wh□ are being shot □ at first they are s□ockin□, bu□ □oon they wi□□ probably becom□ a □art□of the □□i□ lands□ape. I□ the city centre st□nds a prisoner □amp on a sodden □og ("Peopl□ perish likes □□ies; th□ b□die□ a□e □rans□orted durin□ □□e nigh□&quo□□□□ i□ the street the ch□l□e□n are runn□ng a□ter□a□coal □agon to □oll□ct some preci□us pie□e□□of fuel. Ther□'s a bustle aroun□□some food (a boy r□p□oa□h□s his younger br□ther's□actions by □□ng□ng: "□he□□arra□t of□icer's son is□beggi□g in fro□□ of the church? I'm going□to tell□□othe□!");□an□ th□ □itchen,□whic□ one □□enin□ become□□the proscenium□of□□ r□al□drama. And t□□re ar□ t□e symbols: □□bar□o□ ch□colat□ forced upon □ boy□by a □□hrm□cht s□ldier (&q□ot;□n the □oa□"); a pair of shoe□ □el□ng□ng to Zb□□□e□'□ father□□□i□h the□bo□ spont□neously gives □o a Russian fu□itive; a price□ess□□lice of □read, gr□u□□□&□bsp;under the □eel □f□a po□iceman in the□□ut□□□("L□tters from the Camp&qu□t;). A□ the □irecto□ put i□: "□n ev□ry□film□ I com□unicate my □w□ visio□ of the□world and of th□ people□□Only then the s□yle f□l□ows, the define□ way of experiencing □h□ngs."□ □n Bi□th Certifica□e, he adds, his□appro□ch wa□□□□iven□by the su□je□t: &□uo□;I□att□mpted □o creat□ not only□□he te□□u□e □f□t□e□document but al□o□t□ a□d □ome poeti□ elemen□.□I k□ow it is r□□□y but □s □or the merg□r□of do□u□enta□ion and poety, often hidd□n□very d□ep□ i□ only it man□g□s to ma□□ it□□way onto the□screen, it r□s□l□s in□what can□referr□d to□as 'art□□□9;.&q□ot□　　Af□er 1945, the□e were numerous □ilms cr□□ted in Eur□pe that□dealt wit□ w□r an□ children, i□cluding &qu□t;Somewhe□e in Europe" ("□alahol Euro□aban&□u□t;,□194□□by□Geza□R□dva□□i), "Shoeshine&q□ot; (□q□ot□Scie□ci□&qu□t;,□1□4□ by Vittorio d□□Si□a), an□□"□Childhood of Iv□n&qu□t; ("Iwanowo di□ts□wo" by□Andriej□Tarkows□i□. □et there were □□wer than □ne woul□□e□pec□□ □ursuing□a s□bje□t so □mbued□□ith□s□ntimen□alism requires s□ylistic dis□□li□e and□a sp□c□al □bility□to manage c□ild actor□. The □uthor o□□&quo□;B□rth C□rtif□cate□quot; mastered □ot□ - and i□ wa□□not by ch□nc□□ Stanislaw Rozewicz□was □lw□y□ the beneficent spirit of □he f□l□□milieu; h□ co□ld unit□ people □round □ common go□l. □e ema□ated peace□a□d sensitiv□ty, □hich flo□e□ to □is co-worke□s and pupi□s.□□ film, □□□n□ a g□oup work, necessitate□ some□for□ □f empathy - tunin□ in□with others.□　In a biog□□□hica□ documentary□about Stanis□aw□Roz□w□cz entitled□&q□□t;Wa□king, Mee□in□" (1999 □□ A□to□i Kr□uz□),□□□er□ is□a □eautif□□ □cene w□en the □irect□r, after a f□w deca□es, □eets Bea□a Ba□□zczewska, □ho plays Mi□eczka□in □he novella □quot;Dr□ps of□B□ood&quo□;□□The □oma□ fall□□into t□e arms of the el□erly man. They are both□moved. □e □onders how many yea□s□have pas□ed. She answ□rs: "A few ye□rs. Not too□many.&qu□t; And□Rozewicz, wit□ his ch□racteristic smile says:□&□uot;It is tru□. We□s□ent th□□ en□ire ti□e together."“高高在上？”晋□□笑，“□斤叔，你可别笑□(□□我□了。我们虽然已经(□)成了仙士□可是仍然不过是□世界(🥧)上最底层蝼蚁一般的人□杨力宣□后厨□忙扛□(⛔□肉□米□杨(□)力□(😊□跑□送信，杨萱帮□分□药材，这与凡人□又有什么区别□”郑凌霄沉思了□刻，抬起头斩钉□铁的道：“追，必须□，我们就□□不能消灭他们□也(🥄□□知道他们落脚(□)点在什□地方，□没有建城，是否还有援军，以及还□□有其他的手段等，至于说□们使用的那□药剂，□实有一□致命的缺点，那就是狂暴的时间□有一刻□，而且，在这期间，他们没有智慧，时间一(📰)□他□也必然会变(🗑)成白痴，所以，我判断，他们既然是高级异族，就不会轻易的使用那种拼命的手□□而且，□们也不需□跟□□(🐎)正面硬扛，只要坚持一(🗳)刻钟□□)即可。”＂不用拘谨，都免礼吧。＂皇帝□，说话□□□和(🐻)□才对亚瑟一行□时说话的语气竟然是一样的(🍽)。 ...详情