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    电影 我用夏天比拟你

    我用夏天比拟你

    Shall I Compare You to a Summer’s Day / Bashtaalak sa'at / 天方酷夜谭

    影片信息

    • 片名：我用夏天比拟你
    • 状态：HD
    • 主演：Ahmed Awadalla/Nadim Bahsoun/Hassan Dib/Ahmed El Gendy/Richard Gabriel Gersch/Donia Massoud/Selim Mourad/Salim Mrad/
    • 导演：穆罕默德·肖基·哈桑/
    • 年份：2022
    • 地区：其它
    • 类型：剧情/歌舞/剧情片/
    • 时长：内详
    • 上映：2022-02-11
    • 语言：其它
    • 豆瓣：我用夏天比拟你
    • 简介：　　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.”
    2022/其它/剧情 歌舞 剧情片 /2022-02-11上映/其它/

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    剧情简介

    　　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.”

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