男生女生一起相嗟嗟3.0

《男生女生一起相嗟嗟》上映于1975  年，是一部美国制片出品，由Julia 凯特·贝金赛尔 迪皮卡·帕度柯妮  等主演的爱情片 ，对白语言为英语。

《男生女生一起相嗟嗟》剧情简介：A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samur ai flicks of K urosawa, we sterns, the pop fil ms by Richard l ester, the me al scene  from Tom Jones  and many othe rs.    The fil m was made  by a bunch of (very t alented) frie nds Zohar ga thered, and th ey shot it w ith their o wn funds,  as a “co llective flick” , another as pect of it  that sets i t apart f rom the re st of the pro duction in the  country.A comic and episodic satire , the film uses improvisa tion to illust rate the  clash betwee n fantasy and