比斯平
地区:日本
  类型:法国
  时间:2025-07-16 08:31:07
剧情简介

Trevor is a 16 year old, sometimes-violent skinhead with no regard for authority, and would rather spend his time stealing cars than sitting in the detention centre to which he is sent. His social worker, Harry Parker, tries to do his best, but Trevor is only interested when there's something that he can get out of it. The authorities within the centre try to make Trevor conform to the norms of society, but he takes no notice, and would rather speak in a torrent of four-letter words and racial abuse.

7次播放
839人已点赞
4人已收藏
明星主演
范成玉
黑色饼干
小池彻平
最新评论(777+)

闻婷

发表于5分钟前

回复 :算死师良辰当年算到了他的老大暗影会被冷家所杀,以要退出暗军的筹码帮暗影灭了冷家24口人命放走了一个男孩,出来后遭暗影暗算重伤逃跑,看透了江湖恩怨退隐江湖为了躲避杀手组织的追杀躲到一个小镇上当仵作隐藏自己的身份


刘小慧

发表于2分钟前

回复 :犯罪重本行為死刑、無期徒刑或十年以上有期徒刑之罪者,其追訴期為30年。即,就算殺了人,只要躲得了30年,法律上你就無罪了。陳潛七歲的時候目睹雙親被行刑式地殘殺,三十年來他不斷地想辦法追尋出弒親兇手-『大貓』。只要睜開眼,陳潛眼裡就是獵捕那記憶中大貓手上的老虎刺青。然而這些年卻日復一日空白地過去,謎樣的大貓就像人間蒸發。三十年即將期滿,刑法第80條似乎會是壓垮陳潛的最後稻草,那僅存一絲的渺茫希望,即將破壞殆盡。但兩個她出現了,就在陳潛最是無能為力時,兩個足以改變陳潛命運的女子出現了...。


小室哲哉

发表于4分钟前

回复 :康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式,但如今富有的伦敦游客纷纷下山,取代了当地人,当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫,因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅,现在看来,最后一场战斗是和新主人在海边的停车位上展开。然而,情况很快就失控了,而不仅仅是因为车轮夹钳。Bait是一种黑白,手工制作,16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而,最重要的是,在影像中不同层次的电影历史参考文献之下,当前许多政治关联正在等待被发现。The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp.Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.


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