搜全网影视
爱子十六岁封面

LATEST · 电影

爱子十六岁

7.71983剧情
主演
富田靖子/河合美佐/松下幸枝/笑福亭鹤瓶
导演
暂无
语言
暂无
地区
日本
STORYLINE

内容简介

“电影作者”大林宣彦总监制,今关秋吉执导,改编自1981年日本文艺奖获得者堀田明美同名小说《爱子十六岁》  八九十年代偶像女星富田靖子的出道处女作,当年恰好是16岁的富田从127000人的候选人中脱颖而出主演女主角爱子,后凭此角获1985年第8届日本电影学院奖最佳新人奖  本片讲述了日本爱知县名古屋市星丘高中一年级弓道部女生三田爱子的青春故事。16岁的爱子喜欢坐在自家屋顶上远望风景,随着夏日暑假的到来,面临朝气蓬勃又躁动不安的花季,经历过一系列喜怒哀乐后,最终爱子勇敢地迈出拥抱青春感受成长的步伐。。。  人生正如弓道,弓道自在人心,射箭不在于中与不中,而在于 心正不正

剧情日本
YOU MAY ALSO LIKE

相关推荐

佛光寺传奇◎9.9

佛光寺传奇

武城佛光寺有个传说:文身地图加上寻宝诀和舍利光,就能找到巨大宝藏。皇帝派出带刀侍卫燕十三,得到文身,并化名丁默来到武城。他在比武招亲中被县令崔毅然之女崔蕊看中。丁默和歌女梅玉莹相爱,他还帮助崔毅然找到了佛牙舍利,但舍利旋即被盗。崔毅然翻脸,他准备盗走宝藏和舍利逃亡日本。在崔蕊、梅玉莹和连九的舍身相助下,丁默杀死崔毅然,却发现所谓宝藏是铜矿矿脉,对于个人毫无用处。

热辣奇多的诞生◎5

热辣奇多的诞生

Flamin' Hot is the story of Richard Montañez, the Frito Lay janitor who channeled his Mexican American heritage and upbringing to turn Flamin' Hot Cheetos into a snack that disrupted the food industry and became a global phenomenon.

骇人秘事波比特◎9.8

骇人秘事波比特

An immigrant bride to a battered wife into an unlikely media sensation.

哈林兄弟◎8.9

哈林兄弟

4个哈莱姆青少年,Q, Bishop, Raheem和Steel,有一天逃学,他们发现一个老朋友在酒吧枪战中被杀。此后,毕肖普对他的朋友们说,他们没有尊重,也没有果汁。为了得到一些,他们抢劫了街角的杂货店,但是事情发生了意想不到的转变。只有那四个朋友知道发生了什么事,但其中一个是自私自利。

北川重生◎5.3

北川重生

一辆大巴车行驶在北川崎岖的山路上,正午时分的人们昏昏欲睡,赶回去给女儿过生日的宋更归心似箭,正在和女儿通电话时突然山崩地裂,刚才还平坦的道路顷刻间变成悬崖峭壁,大巴车悬停在峭壁上,宋更跳车而逃,电话里已经没有了声音,身后的大巴车坠入悬崖。一场罕见的里氏7.8级的地震奇袭而来,北川等地化为废墟。  随着电视直播信号的恢复,北川灾区的悲惨场景和救援的画面呈现在千千万万观众面前。全国各地的对口援建工作迅即展开。

特工◎3

特工

1990年代中期,暗号「黑金星」的南韩「国家安全企划部」情报员,假扮成南韩商人跟北韩进行商业交易,藉此渗透北韩军事单位,打探核开发情报,他得在最危险的地方,赢得敌方的信任,没想到一心只想完成任务的他,却在不自觉中陷入南北韩权力高层间的恐怖阴谋。

公园里的女孩◎3.6

公园里的女孩

朱莉3岁的小女儿在15年前失踪了,这么多年来,朱莉一直陷于丧女之痛中无法自拔。无论丈夫或儿子怎么劝慰,她仍旧无动于衷,在自己的世界里独自悲伤,整个家庭也因此逐渐散掉了。直到有一天,一个有着复杂背景的年轻女人走进了朱莉的生活,在相处过程中,朱莉内心的伤痛被她慢慢化解,朱莉发现这个女人有可能就是当初自己失踪的女儿……

贝拉的魔法◎8.1

贝拉的魔法

坐在轮椅上,之后的人生只能靠它代步的蒙特(摩根•弗里曼 Morgan Freeman 饰)对人生不再抱有什么希望。曾经的知名作家因为妻子的离世而灵感不再,整日与酒为伴的蒙特让侄子对他放不下心来,于是为他找了一个僻静小镇的小木屋,让他在这里散心养生。搬到这来的蒙特起初对什么都没有的小镇很不满,终日酗酒。而隔壁奥尼尔家的三个小女孩及她们的母亲(维吉妮娅•马德森 Virginia Madsen 饰)引来了蒙特的注意,随着和她们接触的加深,蒙特喜欢上了这一家,从中也渐渐拾得了生的乐趣;而奥尼奥家的三姐妹从蒙特身上得到了父爱和关怀,而她们的母亲也再次感受到爱情。  一切都在朝着好的方向发展着,哪怕当下仍是黑暗,但黎明终究会来到,在救赎与被救赎中,蒙特及奥尼尔一家得到了治愈。

关于在短时间内的某几个人的经过◎3.4

关于在短时间内的某几个人的经过

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.

逃山◎3.3

逃山

李东阳和刘秋叶是一对恋人,因无法偿还网络贷款遭遇暴力催债,两人逃亡大竹山,经老权介绍村里大龄光棍王大竹,两人商量假结婚骗取彩礼还网贷。李东阳拿着彩礼逃出大竹山,刘秋叶逃跑被王大竹带人抓获,从此囚禁于家中受尽凌辱,期间李东阳回来解救刘秋叶失败惨遭王大竹和王富贵的毒打。王富贵也惦记着刘秋叶准备将其占有,遂与王大竹发生矛盾,从此李东阳王大竹和王富贵三人展开斗智斗勇纠缠,刘秋叶惨遭三个男人的争夺却无法脱身于大山之中。

禁忌的欢愉◎9.7

禁忌的欢愉

The film is based on a current event and tells the tragic love story between a fifty-year-old woman and a much younger boy.

拦截证人◎6.8

拦截证人

为躲避恐怖分子的追杀,施警官将女证人转移到袁警官的公寓,因身份被调换,两位警官弄出了不少笑话,令人捧腹大笑。