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原　　名：Virgen de la lujuria, La (2002) T%TO?[cN  
译　　名：处男的欲望 dHn,;Vv^6  
导　　演：Arturo Ripstein >\lBbqa#  
编　　剧：Max Aub   story La verdadera historia de la muerte de Francisco Franco 7Sycy#D  
　　　　　Paz Alicia Garciadiego   screenplay *'@T+$3s  
演　　员：Carlos Chávez .... Ezequiel 1q*=4O  
　　　　　Juan Diego .... Gimeno-Mikado  </Dv?  
　　　　　Gon?alo Diniz .... Fabregats -?)z@L
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　　　　　Alberto Estrella .... Gardenia 5cr\ JR  
　　　　　Ariadna Gil .... Lola .g_Kab3?L  
　　　　　丹尼尔·吉曼奈兹·卡卓 Daniel Giménez Cacho .... Toledano 9PR?'X;4  
　　　　　Carmen Madrid .... Imelda >/-Bg:  
　　　　　Julián Pastor .... Don Lázaro
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　　　　　Patricia Reyes Spíndola .... Raquel UQT=URS  
　　　　　Luis Felipe Tovar .... Nacho uH } }z!  
类　　型：剧情 c`)[-  
片　　长：142 分钟 =#I/x=
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上　　映：2002年 KW3
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国　　家：西班牙/墨西哥/葡萄牙 %F0.TR!!n  
语　　言：西班牙语 3qp\jh=FE  
字　　幕：中文 ^7`gf  
文　　件：1CD 515MB hus9Zv4  
链　　接：http://www.imdb.com/title/tt0332817/ SUoUXh^!w  
评　　分：6.1/10 (51 votes) s<LYSrd  
视频尺寸：640 x 352 NF*Z<$'%  
压缩格式：DVD-RMVB al]-*=v7}  
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影片简介： cEPqcy *  
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第59届威尼斯电影节特别注目奖 7nawnS  
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　　里普斯坦被认为是尚在世的最伟大墨西哥导演，他的电影多数是探讨灵魂的孤独，正是这个特点，使他的大多数电影采取了一种缓慢、绵长的步调。 s%l^zA(  
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　　Mexican director Arturo Ripstein’s incredibly lush melodrama The Virgin of Lust makes an ironic statement about a fundamental delusion in the hopes of Communists to lift up the masses. Set mostly in a café in Vera Cruz, the film centers upon Nacho (Luis Felipe Tovar), an unambitious worker who supplements his long days of subservience with masturbation sessions in which he intones repeatedly “Franco must be killed!” That private flirtation with revolution is fantasy enough for him, until one fateful night when he finds Lola, a mysterious and promiscuous political radical who lives so far on the edge that she always seems on the threat of self-destruction. Nacho, who is hopelessly attracted to her but too afraid to act upon his impulses, takes her in, and soon the two find themselves in a masochistic relationship. A swirl of activity forms around Lola that puts Nacho’s desire for complacency up against her desire for massive upheaval. Once expatriates from Spain and revolutionary artists enter the picture, there seem to be more people interested in determining the fate of the common man here than there seem to be common men, but because Nacho can’t respect himself enough to take action to change his situation and Lola can’t dredge up any empowering respect for him, both are doomed. It’s the examination of this political stasis that gives the film much of its humor and power.

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