Barney Rosset is one of the great unsung heroes in post-war America’s battle for free expression. As publisher of Grove Press and the Evergreen Review, he challenged obscenity bans against Lady Chatterley’s Lover, Tropic of Cancer, Naked Lunch and more, repeatedly risking his company on court battles. His literary and political instincts led him to publish works as diverse as Samuel Beckett’s Waiting for Godot and The Autobiography of Malcolm X. His love of film spurred him to produce Strange Victory, a 1948 documentary about post-war racism. Later, he fought censors as far as the Supreme Court to distribute the risqué 1967 Swedish film I Am Curious (Yellow).First-time directors Neil Ortenberg and Daniel O’Connor take us on a thrilling trip through Rosset’s crusades. They uncover some wonderful archival material: 16mm footage Rosset shot as an Army cameraman in the Second World War; Zero Mostel and Burgess Meredith performing in a televised Waiting for Godot; Gerald Ford denouncing the Evergreen Review. The film’s jazzy graphics recall the flair of Grove Press’s memorable cover designs.Going strong in his eighties, Rosset gives delightfully frank interviews. Friends and colleagues weigh in with equal candour as do such witnesses to the times as Erica Jong, Jim Carroll and John Waters. The film is packed with cultural history revelations and Rosset’s equally compelling personal history. His life was radical from an early age. At an experimental Chicago high school in the thirties, Rosset’s teacher arranged for him to lose his virginity to another student; he also published a school paper, Anti-Everything, with classmate Haskell Wexler (who went on to a career as an Academy Award®-winning cinematographer). As a college freshman, he wrote a paper about his literary hero – presaging his defence of Tropic of Cancer – called “Henry Miller vs. Our Way of Life.”Screw publisher Al Goldstein calls Rosset the “most fucked-up businessman in all of America.” Born to a wealthy banker, Rosset spent all his money on his passions. Ultimately, he sold off hundreds of acres in the Hamptons until he was left with very little and lost control of Grove Press. Now that’s obscene. But he maintains a warm outlook, describing his career as “the art of nourishing the accidental.”

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该剧是一部充满智慧和温情的故事。电影通过主角们的冒险经历，向观众传递了勇气、智慧和团结的力量，让人深受感动。

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无论是《百年孤独》、《一句顶一万句》还是本书，在口碑不错的著作中总读出些宿命论的意味，无论当下如何未来总是在善后决定，而无论哪个决定，可能就左右了你的一生。 主人公的见死不救、撒谎威胁，都顺理成章，或多或少，似曾相识。 哈桑和主人公的角色设定太狗血，父亲睡了仆人的妻子生下个孩子而后服侍自己名正言顺的儿子，未免俗套。 书本最后在“笑容”上着墨颇多，在我看来，主人公后半生应该步入还债阶段，如此，心安理得便是人间至大幸福。 美国之于主人公，没太多别的，仅仅是脱离了原来备受情感折磨的环境，所谓故乡，终究敌不过愧疚。 压力，头痛。。。。。。

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我不知道它属不属于小众作品，只知道第一次看见推文是在毒舌影评公号上，单看文字，我就深受震撼了。?????影评分界线????自始至终，《寒单》贯穿着血肉模糊的痛感。这是导演黄朝亮借这部惨烈的，伤痕累累的电影留给我们最大的善意。以一段传统风俗为切口，《寒单》聚焦于一群人。这群人曾经拼尽全力却无功而返。这群人曾经烂死街头却无人在意。他们在这个滚滚向前的时代，就像扫帚上的灰被无声掸落。

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年的山城，岁的窦小明受伤进了医院，认识了护士佳惠。两人在医院相识相知，发展了一段感人至深的感情。然而，佳惠的丈夫钢哥却经常对她施加家暴，使她陷入了困境。窦小明得知此事后，决定帮助她，从而改变了三人之间的关系。