Flowers of Shanghai

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93%
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рдпреЛ рднрд┐рдбрд┐рдпреЛ рд╡реЗрдм рдмреНрд░рд╛рдЙрдЬрд░ рд╡рд╛ рдпреЛ рдПрдк рдЪрд▓реНрдиреЗ рдбрд┐рднрд╛рдЗрд╕рд╣рд░реВрдорд╛ рд╣реЗрд░реНрдиреБрд╣реЛрд╕реН┬ардердк рдЬрд╛рдиреНрдиреБрд╣реЛрд╕реН
рддрдкрд╛рдИрдВрдХреЛ рднрд╛рд╖рд╛рдорд╛ рди рдд рдЕрдбрд┐рдпреЛ рди рдЙрдк-рд╢реАрд░реНрд╖рдХрд╣рд░реВ рдЙрдкрд▓рдмреНрдз рдЫрдиреНтАМред рдЕрдЩреНрдЧреНрд░реЗрдЬреА рдорд╛ рдЙрдк-рд╢реАрд░реНрд╖рдХрд╣рд░реВ рдЙрдкрд▓рдмреНрдз рдЫрдиреНтАМред

рдпрд╕ рдЪрд▓рдЪрд┐рддреНрд░рдХрд╛ рдмрд╛рд░реЗрдорд╛

An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, this gorgeous period reverie by Hou Hsiao-hsien traces the romantic intrigue, jealousies, and tensions swirling around four late-nineteenth-century Shanghai "flower houses," where courtesans live confined to a gilded cage, ensconced in opulent splendor but forced to work to buy back their freedom. Among the regular clients is the taciturn Master Wang (Tony Leung Chiu-wai), whose relationship with his longtime mistress (Michiko Hada) is roiled by a perceived act of betrayal. Composed in a languorous procession of entrancing long takes, FLOWERS OF SHANGHAI evokes a vanished world of decadence and cruelty, an insular universe where much of the dramatic action remains tantalizingly offscreen-even as its emotional fallout registers with quiet devastation

рдпрд╕ рдЪрд▓рдЪрд┐рддреНрд░рдХреЛ рдореВрд▓реНрдпрд╛рдЩреНрдХрди рдЧрд░реНрдиреБрд╣реЛрд╕реН

рд╣рд╛рдореАрд▓рд╛рдИ рдЖрдлреНрдиреЛ рдзрд╛рд░рдгрд╛ рдмрддрд╛рдЙрдиреБрд╣реЛрд╕реНред