第一季尼泊尔、国产肯尼亚、国产喜马拉雅、秘鲁、西伯利亚第二季埃塞俄比亚、墨西哥、蒙古、尼加拉瓜、巴布亚新几内亚第三季玻利维亚、哥伦比亚、菲律宾
第一季尼泊尔、国产肯尼亚、国产喜马拉雅、秘鲁、西伯利亚第二季埃塞俄比亚、墨西哥、蒙古、尼加拉瓜、巴布亚新几内亚第三季玻利维亚、哥伦比亚、菲律宾
回复 :剧情叙述1962年古巴危机期间,一位B级科恐片导演来到某个小镇举办新片试映会。
回复 :Saheb, his wife, and a gangster who returns to take revenge......
回复 :A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”