八一八电影网

狗蛋（郝邵文 饰）真心实意的暗恋着青梅竹马的玩伴小翠，然而情敌宇文的实力太过强大，任凭狗蛋如何对小翠展开猛烈的攻势，都得不到她的心。原来，小翠觉得狗蛋长得太胖了，于是狗蛋开始发奋减肥。丑妹为了讨狗蛋的欢心跟在他身后出谋划策，两人闹出了不少的笑话也惹了一身麻烦。狗蛋进入海防部队成为了一名军人，可是，虽然身在军营，但军营内的管理却十分的混乱，毫无军法军纪，狗蛋依然过着闲散而又自由的生活。直到有一天，一位名叫包胜男的掌管被派往狗蛋所在的部队监督军纪，这令狗蛋一行人苦不堪言。狗蛋怂恿班长阿宪追求包胜男，以解决目前的困境。

九州の炭坑の町に生まれた主人公の波乱の生涯を描く、五木寛之の自伝的大河小説の再映画化。幼年期から青年期を中心に描いた本作と、続編にあたる「青春の門　自立篇」がある。

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.)

到尼加拉瓜采访的美国女子，滞留在闷热多雨的城市，街头常有军人巡逻，政治阴谋波谲云诡。手头拮据，她只好以身体换取金钱。偶遇神秘英国男子，一次交易之后，激情如巨浪翻腾，陷于不能自拔的情欲缠绵，原以为他会是自己的救生艇，岂料迅即落入更大的险境。改编自丹尼斯·约翰逊所著的同名小说，克莱尔·德尼将背景搬到疫情当下，刻画亡命鸳鸯在封闭国度相濡以沬，显现对时代的敏锐触觉，拍出挑动情绪的迷人力作。荣获戛纳国际电影节评审团大奖。