麦田影院麦田影院
我有毒
年份2018电影
2.0其它其它HD
恐怖
2.0
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描述:  Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!).  The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats: they get to see the film and can also enjoy the unfinished comic in an exhibition.
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    • 片名:我有毒
    • 状态:HD
    • 主演:Esteban Prol Horacio Fontova Sergio Podelei Gastón Cocchiarale Fini Bocchino Verónica Intile Goyo Escardó Demián Salomón Rodrigo Ferreyra 
    • 导演:Daniel de la Vega Pablo Parés 
    • 年份:2018
    • 地区:其它
    • 类型:恐怖 
    • 频道:内详
    • 上映:未知
    • 语言:其它
    • 更新:2023-10-14 17:26
    • 简介:  Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!).  The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats: they get to see the film and can also enjoy the unfinished comic in an exhibition.
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