柳乐优弥、有村架纯、三浦春马主演，黑崎博自编自导的[火的礼物](Gift of Fire，暂译)现已正式杀青，投入到后期制作。影片描绘日本在二战末期试图制造原子弹，柳乐优弥饰演炸弹制造小组中的一位年轻科学家，他逐渐开始怀疑自己正在制作东西的真正意图。柳乐优弥饰演的角色及本片故事均基于一位真实的原子弹研究人员的日记，而该日记正是由导演黑崎博在10年前发现。本片将由尼可·穆利([朗读者])作曲，彼得·斯特曼也会为本片献声。
笔名王十二30分钟前
Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ?Cut Piece?, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ?Cut Piece? entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,?Uncorrupted Joy: International Art Actions,? in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)
交流云影院-热播电影和电视剧手机在线免费播放网友40分钟前
剧场版《BanG Dream ! Episode of Roselia Ⅰ :約束》公开先导影像，本作将于2021年在日本公开
嘘！不要说话（伪颜之下）影片的精彩影评
Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ?Cut Piece?, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ?Cut Piece? entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,?Uncorrupted Joy: International Art Actions,? in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)