剧情简介
电影《72小时》是一部以地震灾区实景为拍摄场景，孕妇以铭记、孕妇回顾和弘扬救灾精神为目的。该片描述了汶川大地震中医护人员忘我救灾的感人事迹，讲述了在灾难来临时，一对医生夫妇的感情抉择。该片由青岛美女作家李雨珂担任编剧和制片，曾执导过《海洋朋友》钱晓鸿担任导演，马跃、刘琳、张莹、詹慧聪等主演。在片中饰演医生的马跃说，《72小时》与同题材的救灾电影相比，它不直接描写灾难，而是以灾难为背景，描写大环境下人性的光辉
孕妇 视频
电影《72小时》是一部以地震灾区实景为拍摄场景，孕妇以铭记、孕妇回顾和弘扬救灾精神为目的。该片描述了汶川大地震中医护人员忘我救灾的感人事迹，讲述了在灾难来临时，一对医生夫妇的感情抉择。该片由青岛美女作家李雨珂担任编剧和制片，曾执导过《海洋朋友》钱晓鸿担任导演，马跃、刘琳、张莹、詹慧聪等主演。在片中饰演医生的马跃说，《72小时》与同题材的救灾电影相比，它不直接描写灾难，而是以灾难为背景，描写大环境下人性的光辉
刁寒
回复 :这是一部寓言般，反浪漫的公路电影，男青年瓦尔特是个裁缝，每天帮着母亲缝制衣服，可是他向往外面的世界，于是他乘着母亲不备将母亲锁进屋子并偷了母亲的钱物找了一个哥们驾车兜风，在路上遇见了来旅游的泰欣娜和其女友，他们四人结伴而行，沉默寡言的两个男人和随心所欲的两个女人产生许多 戏剧冲突，他们一起住店，一起听摇滚音乐会，折腾许久以后，瓦尔特决定回家，回家后他若无其事地坐回缝纫机边继续他的裁缝生涯，仿佛一切未曾发生过。
胡灵
回复 :已婚男人何慕洋（刘冠男 饰）在意外邂逅女记者任梦（戴韩安妮 饰）后，坠入了爱河。妻子江欣非常伤心，何慕洋在婚姻与情感之间的纠缠也身心俱疲，事业更是遭遇了严重危机。最终任梦选择了离开，何慕洋也重新回归到了家庭。
陈好
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
