DreamyanimatedimagesindetailedhennapaintingandatmosphericwatercoloursdominateayoungSpanishartist’smovingjourneyofdiscovery.InasmallbookshopinIndia,Inéscomesacrossthefeminist-utopiansciencefictionstory“Sultana’sDream.”Itisabouttheterriblerevengeonmen,thebooksellerexplains.Intheslimvolumeshewrotein1905,RokeyaHossaindescribesthefantasyrealmofLadyland–alandinwhichwomenareself-determinedandliveinpeace,inwhichtheyrunallgovernmentaffairsandallformsofeducationareopentothem.Andthemen?TheirplaceinLadyland,thebooksellercontinues,iswheretheybelong:lockedupathome.Fascinatedbytheliterary“painting”ofthisplaceanditsinventor,InéssetsoutinthefootstepsofthewriterandteacherHossain,whochampionededucationandequalrightsforIndiangirlsandwomenasearlyasthebeginningofthe20thcentury.ThetriptakestheSpaniardacrosscontemporaryIndia.HercompanionsarethedreamsofLadyland–andtheutterlydifferentrealitiesofthelivesofthewomenshemeetsonherjourney.源自：https://www.dok-leipzig.de/en/film/sultanas-dream/programm Charlie,ayoungboyfromChinatravelsallthewayfromShanghaitofindhisfathersrestaurantinHollywoodisintrouble.Hemustconvince3peopletobelieveintheSpiritofChristmasinordertosavehisfamily’sdream.ThisMulti-AwardWinning,FamilyChristmasComedywillbringyourentirefamilytogetherandincludesmusicalnumberswithBertieHiggins,JohnFordColeyandDarrenDowler. 影片故事发生在当代巴黎，德国电影制作人托马斯（罗戈夫斯基饰）通过与一位名叫阿加特（阿黛尔饰）的年轻女子的激烈恋情拥抱了自己的性取向，这种冲动模糊了他与丈夫马丁（本·卫肖饰）之间的界限。当马丁开始自己的婚外情时，他成功地重新获得了丈夫的关注，同时也引起了托马斯的嫉妒。与矛盾的情绪作斗争，托马斯必须要么接受他婚姻的局限，要么接受这段关系已经走到尽头。萨克斯对人类体验的扎根考察，着重于身体和情感吸引力之间的异同，并提出了将艺术与艺术家分开的问题。优雅的电影摄影与非常复杂的表演巧妙地平衡，让他的角色在安静、不舒服的时刻安顿下来，直面他们的不完美。段落是一个非常亲密的作品，拒绝回避生活的混乱。 ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout. “推理女王”在作品中抽丝剥茧，而自身却是谜团重重：三集纪录片《阿加莎·克里斯蒂：解密悬疑女王》从阿加莎的作品入手，深入探索这位作家隐秘的热爱、恐惧、信仰、以及她生活的动荡时代。在历史学家露西·沃斯利（LucyWorsley）看来，著名侦探小说家阿加莎·克里斯蒂（AgathaChristie）用精心打造的公众形象隐藏了“真实的自己”。阿加莎的生活和作品反映了20世纪的社会剧变，作为公众人物声名远扬，而她的真实性格却令人难以捉摸。露西·沃斯利深挖这位侦探小说家的相关资料与作品，试图找到更多的线索，解开阿加莎·克里斯蒂自身的谜团。 经典剧情惊悚片《沉默的羔羊》计划推出一部衍生剧。CBS预订了新剧《克拉丽丝》(Clarice)的剧本，以电影中朱迪·福斯特饰演的特工ClariceStarling为主角，讲述《沉默的羔羊》事件一年后的1993年，她回到一线去追捕连环杀手和性犯罪者，同时也游走在华盛顿高风险的政治世界。阿历克斯·库兹曼(《新木乃伊》《星际迷航：发现号》)、詹妮·吕美特(《蕾切尔的婚礼》《星际迷航：发现号》)担任该剧编剧和执行制作人。如果顺利开发，会在2020-21播出季推出。 在上集幸存下来的人被神秘的先知ShotBusGus所救，他似乎拥有控制这些畜生的能力，在先知的带领下，幸存者进入下水道，那可通往城市，路上他们得到了空手道专家Jean-ClaudeSeagal的帮助，并得知这些畜生源自一个叫"TheHive."的地方，于是他们决定发起反击，永远消灭掉这些畜生。 法国1962年雅克·罗齐耶作品一部被评论界捧上天的新浪潮杰作结构主义符号学派电影批评的经典范例法国结构主义符号学大师麦茨这样评论该片：“从《再见菲律宾》一片各种段落类型出现频率的多寡与否的概述过程中，我们可以重新确认在直观批评上所感受到的影片风格——一部典型的‘新电影’（形式的解放、对过度‘修辞’手法的反动、影片叙事呈现出‘简单化’、‘透明化’趋向等），以及存在于这类新电影之内，我们可以称之为“戈达尔／直接电影”的趋势（强调语言成分、场景的重要性、整体‘写实精神’和真正的新形态蒙太奇... 嬌嬌女香緹兒與好友前往小島度假，任性的她無視警告並弄亂海底珊瑚礁，隔天醒來發現自己受到詛咒變成美人魚！她驚慌失措地向青梅竹馬諾亞求救，兩人決定試試童話故事的「王子的真愛之吻」，於是香緹兒計畫要讓「電音王子」DJ伊森愛上她。計劃十分順利，伊森愛上了香緹兒，諾亞卻也因此發現自己對香緹兒的真正情感。然而當香緹兒獲得真愛之吻，她才明白愛情原來不像童話中那樣單純美好… 一名全职爸爸辛苦多年，终于可以趁妻儿不在家享受MeTime。他与昔日的死党重逢，过了一个疯狂周末，却差点令自己的人生天翻地覆。 简介：该片以真实电影的手法描绘哈连郡矿场的罢工事件，是劳工议题电影中的经典之作。导演曾跟随梅索兄弟多年，协助录音并学习拍片，后开始从事独立拍片的工作，至今已三十年。 一种病毒爆发，一场令人毛骨悚然的大屠杀在蒙得维的亚街头肆虐。病人变成了猎人，只能通过肆无忌惮地杀死所有尚未感染的人来平息他们的发烧。没有意识到这一点，爱丽丝和她的女儿在爱丽丝担任保安的体育俱乐部度过了一天。当夜幕降临时，一场毫无怜悯的战斗即将开始。当他们发现每次攻击后被感染者似乎在再次冲锋之前都有32秒的平静时间时，拯救的希望就来了。 《铸就世界的机器》又名《铸就美国的机器》，电视、手机、飞机、摩托车、拖拉机等机器的出现为人类生活带来了巨大的便利，也奠定了现代世界的发展基础。在本片中，观众们将会看到世界最著名的发明家们，包括尼古拉·特斯拉、威廉·哈利、亚历山大·格雷厄姆·贝尔、邓肯·布莱克、阿朗佐·德克尔等，了解他们的竞争对手，并在他们寻求改变人类的生活、科技的突破过程中，了解背后这些胜利或是失败的发展故事。 萨姆·沃辛顿(《阿凡达》)和菲比·托金(《吸血鬼日记》)将主演惊悚片《渗透》(Transfusion)。本片由演员马特·纳夫莱(《血战钢锯岭》《中间人先生》)献出导演首秀，他也将出演。讲述一名前特种部队特工为了不让他的独子被带走，而进入犯罪黑社会的世界中。 ThemovieisbasedonthesuspenseshortfilmnominatedfortheGoldenMélièstotheBestEuropeanFantasticShortFilm,winnerofmorethan30awardsandscreenedbymorethan200filmfestivals.Itwasdefinedbythecriticsas"acultshortfilm". 
