Il bivio

沈丁花花芽(🐸)（麻生(🤡)久美(♓)子 饰(shì )）是一个从不相(xiàng )信任何玄幻理论的(📃)职场(chǎng )女子，不过她深信童年时曾遭到玩具招财猫的诅咒，以至于(yú )人生总是充满坎坷。花(🍭)芽原本(🍜)是蒲公英出版社下一本女性(xìng )时尚杂志的编辑，然而杂志销量一路走低，最终不得(dé )不关张大吉。丢掉工作的她无法完成去意大利找男朋友的梦想，又遗(🐓)失了心爱的宠物小兔子。更大的打击(jī )接(🔕)踵(zhǒ(➕)ng )而来，她的妈妈花翠（松(sōng )坂庆子 饰）跌入沼泽后陷入昏迷。花芽(yá )从母亲的信件中得知生(🐊)身父亲的下落，出于好奇，她启程前去寻找。结果发现，父亲竟然是一个(gè )穿(chuān )着邋遢、举(jǔ )止怪异、绰号“灯泡(⛰)”的糟老头（风间杜(🙁)夫 饰）。这对父女将会(🚄)有怎样的故(👼)事发生呢？

千星(xīng )耳根子烧得(🍯)通红，想要说什么，脑子里却是(shì )一片混乱，什么也说不出来。

蜘蛛侠：逝(🍐)去(qù )之莲

大概(😆)是她(💭)说的道(🍷)理说服了他，容隽神色恢复如常，道：那你应该(gāi )赶得及来看下午的辩论赛吧。

怎么没问过(🤜)，我们当初说好了的，一毕业就结婚。

香港市民梁国涛妻儿无故被害，为报仇四处寻找凶手。在警方(fāng )胡督察的帮助(zhù )下，经过惊险曲折的搏斗，最终找到并抓获了与黑社会狼狈为奸走私贩毒的警方扫毒组沙组长一伙，从而揭露了事件真相。

拾儿（元彪 饰）是老道士（午马 饰）在河(hé )边(🍺)一个(🗝)木盆里发现的孤儿，起名拾儿将其抚养成人。拾(🍑)儿自小跟着老道士捉鬼降妖，与俗世沾染不多，只得(🤐)崔书生（吴启华 饰(🥅)）这一个朋友。鬼王（李美凤(fèng ) 饰）向来作恶多端(duān )，常...

事实上，这两人之间能有什(shí )么解不(🎗)开的结(🔝)呢？无(wú )非是(🥛)各自心头都有(yǒu )顾虑(lǜ )，迟(🉑)迟抹不开(kāi )面子。但是只要一碰面(miàn )，所(suǒ )有的(😁)事情自然都会迎刃而解。

This is a rather depressing story about a woman who suffers depression and returns to Spain from Venezuela, where she has been living with her wealthy lover. This woman, well played by a dubbed Viveca Lindfors, seeks treatment in an asylum which appears to be located near Madrid. Although they hadn't meet since she was a 4 years old child, her daughter (a dull Sonia Bruno) is not resentful, and joins the mother in the asylum, where the patient will undergo a psychodrama treatment. The plot revolves around both women's difficult relationships with their respective lovers, and the rich patients who surround the middle-aged (Viveca and Francisco Rabal) and young (Sonia Bruno and Julian Mateos) couples. Some other small characters which are quite interesting are patients such as a highly neurotic blonde bombshell actress (played by lovely Gisia Paradis), a bipolar and gossipy woman (Laly Soldevilla)...both providing a few very welcome camp humour relax moments to an otherwise very gloomy story. I liked the psychodrama session scene with Viveka and Rabal reenacting the scene that triggered her depression, and I think that the film was well handled, had good production values, good development of characters. Maybe the young couple lacked charisma, and some scenes were a little bit slow-paced. Francisco Rabal played his usual strong male-voiced masculine self, and if effective, I don't find him interesting. Viveca Lindfors was very compelling, and with her use of body and facial expressions managed to bring to life her not very appealing part of a depressed bourgeois housewife. Julian Mateos had a nice body at the time, and was OK as the tortured alcoholic and violent patient who seduces the visiting sweet Sonia Braga. Overall, a curious example of the Spanish attempt at a sort of new wave in the 1960's by the prestigious Miguel Picazo (La Tia Tula, 1964), and mainly recommended to Miss Lindfors' fans.

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