温暖的抱抱 ~ 电影推荐〝Warm Hug ―2020〞中国大陆,[蓝光高清电影]_在线完整版

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Publish Date : 2021-01-02 09:34:38


温暖的抱抱 ~ 电影推荐〝Warm Hug ―2020〞中国大陆,[蓝光高清电影]_在线完整版

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温暖的抱抱 WARM HUG [2020]
别名:温暖的抱抱2020电影
主演: 常远李沁沈腾乔杉马丽艾伦田雨王智魏翔王宁
导演:常远地区:内地播出时间:2020/12/31
类型:喜剧
简介:2020电影《温暖的抱抱》高清免费在线播放是导演常远的处女作,由李沁、常远主演,沈腾出演。该片于2020年在中国上映。讲述一位有强迫症和洁癖的男生(常远饰),原本以为自己是一个友情爱情的绝缘体,但在遇到风格独特的医生(沈腾 饰)和大大咧咧的率真女孩(李沁 饰)之后,上演了一段阴差阳错的疗伤爱情故事。

另类链接电影⭆ https://megamoov.com/zh/movie/743413
 

下载 质量 大小  
温暖的抱抱 Torrent FULL HD 1080/60p 1.7 GB 12
温暖的抱抱 Gdrive FULL HD 1080/24p 1.4 GB 23
温暖的抱抱 Mega FULL HD 1080p 2.3 GB 47
温暖的抱抱 Openload FULL Blu-Ray 3.3 GB 95
温暖的抱抱 Mediafire FULL 4K HD 4.3 GB 82

《温暖的抱抱》电影(免费完整版)在线观看【1080p高清】 | Watch Warm Hug Online Free

 

今日,由常远、李沁、沈腾、乔杉领衔主演的喜剧电影《温暖的抱抱》发布终极海报,喜剧抱抱团欢乐集结,如同家庭聚会般的热闹氛围令人更加期待跨年夜的到来。常远、王智、米可亦惊喜现身郑州路演,神还原“圆规法”包饺子的名场面,将现场气氛推向高潮。影片将于12月31日全国上映,预售已开启。

喜剧抱抱团妙趣登场 全员戏精表情有戏
今日曝光的终极海报中,常远、李沁分坐沙发两边,心灵疗养院的伙伴们搞怪地搬起沙发一角,欲将常远推向李沁。李沁张开双手欲送其一个温暖的抱抱,完美主义者常远却惊慌失措,而以沈腾、乔杉、马丽、艾伦为首的吃瓜群众则纷纷暗中观察,等待好戏登场。
全员神态各异,表情满满都是戏,诙谐热闹的画面迸发出强烈的喜剧效果。此外,心灵疗养院、拥抱小瓷人等片中重要元素也巧妙融入背景中,锦旗上潜藏的“专治不开心、不服过来呀”的标语,也令人会心一笑。据悉,影片已在长春、沈阳、天津等地进行多站路演,一众演员的精彩演绎、出其不意的笑点设置、温暖人心的故事走向都令影片赞誉满满,成为今年最不负期待的喜剧电影。

常远王智现包饺子温暖过冬 现实版鲍抱动情讲述个人故事
21日,常远、王智、米可更惊喜现身郑州,与观众近距离交流。作为郑州儿媳,王智此次回家倍感亲切,她笑称自己为这部影片准备了4年,“常远是用3年时间为拍这部戏做准备,我用了4年时间,生了一个宝宝,体验了一下当妈妈的感受”。
时值冬至,演员们现场再现影片中用圆规包水饺的名场面,为影迷送上冬日的温暖。王智亲友团现身助阵,婆婆也惊喜亮相映后现场,为主创送上胡辣汤等特产。一位与鲍抱有着相似经历的观众动情讲述了自己的故事:“我曾经也特别孤独无助,和鲍抱非常相似。我也非常希望有人能给我一个拥抱,让它点亮我心中的一扇窗,让我的心门不再关闭,像电影最后的结局一样。谢谢这部作品,你(常远)真的是很温暖的鲍抱”。

电影《温暖的抱抱》根据韩国电影《计划男》改编,将于12月31日全国上映,拥抱跨年。影片由常远执导,常远、李沁、沈腾、乔杉、马丽、艾伦、田雨、王智、魏翔、王宁、黄才伦、张一鸣、王成思、张子栋、陈昊明主演,上海爱美影视文化传媒有限公司、华谊兄弟电影有限公司、上海淘票票影视文化有限公司、欢喜传媒集团有限公司、北京无限自在文化传媒股份有限公司、北京耀莱影视文化传媒有限公司出品,青岛翰洺影业有限公司、深圳市亚斯传媒有限公司、西安曲江影视投资(集团)有限公司、平潭喜东东影视有限公司、重庆润锦汇影视文化传媒有限公司、和众文化发展(北京)有限公司、华鸣星空文化传媒有限公司、宁嘉(深圳)影视传媒有限公司、天津猫眼微影文化传媒有限公司、上海绚毅影视文化传媒有限公司、中铭盛世(深圳)影业集团有限公司、上海甲地文化集团有限公司联合出品。

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In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross.
The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. 
Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and given freedoms.
Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee.
The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. https://tinyurl.com/y9l75l32
An apt description of the piece is given in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. https://tinyurl.com/y9l75l32
In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife.
The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history).
Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. 
Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income.
In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney).
Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’



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