我们不会做卡拉基里
| 导演： | Francesco Longo |
| 编剧： | Francesco Longo / Lucio Battistrada |
| 主演： | 维托里奥·梅佐焦尔诺 阿尔曼多·德·拉扎 Pier Giovanni Anchisi Mara Venier Stefano Antonucci Nella Gambini |
| 制片国家/地区： | 意大利 |
| 类型： | 剧情 / 爱情 |
| 语言： | 意大利语 |
| 年代： | 1981 |
| 上映： | 1981-09-04 |
| 片长： | 96分钟 |
| 豆瓣评分： | 0 |
| IMDB： | 0 |
| 影伴评分： | 0 |
剧情简介
A love story between a left-wing assistant director and a kindergarten teacher, both seeking stability in their lives and sustained by a hope for the future that is often put to the test: the former has a good dose of madness, the latter is more rational but fragile. Not all the bittersweet moments of their relationship are interesting, the supporting characters are too evanesc... (展开全部)
A love story between a left-wing assistant director and a kindergarten teacher, both seeking stability in their lives and sustained by a hope for the future that is often put to the test: the former has a good dose of madness, the latter is more rational but fragile. Not all the bittersweet moments of their relationship are interesting, the supporting characters are too evanescent, and Mezzogiorno's is too logorrheic. A partially successful portrait of a generation in crisis that perhaps deserved a more cynical and caustic tone, without sacrificing the comic aspect.
A love story between a left-wing assistant director and a kindergarten teacher, both seeking stability in their lives and sustained by a hope for the future that is often put to the test: the former has a good dose of madness, the latter is more rational but fragile. Not all the bittersweet moments of their relationship are interesting, the supporting characters are too evanesc... (展开全部)
A love story between a left-wing assistant director and a kindergarten teacher, both seeking stability in their lives and sustained by a hope for the future that is often put to the test: the former has a good dose of madness, the latter is more rational but fragile. Not all the bittersweet moments of their relationship are interesting, the supporting characters are too evanescent, and Mezzogiorno's is too logorrheic. A partially successful portrait of a generation in crisis that perhaps deserved a more cynical and caustic tone, without sacrificing the comic aspect.
