一名男子边应对母亲和兄弟的遇害案,边与当地恶棍合伙诈骗保险金,就此步上黑暗之路@HD一条街 莱昂纳多·斯巴拉格利亚凭借此片勇夺2017年马拉加影展最佳男主角奖
忧郁的热带,女孩莲青(吴可熙 饰)遇见少年阿国(柯震东 饰),都是从缅甸跋涉至曼谷的偷渡客,他们连边界都穿过了,却迟迟等不到一纸身分。想新生他方为人,如今却飘荡城市边缘成鬼,日子剩下反覆的劳动,小吃店、成衣厂、工厂熔炉,无处可洩的闷热,高烧一般的爱。当连呐喊也瘖哑,吸毒、残身,贩卖身体⋯⋯。一切不是旧,只是逐渐败坏,不是没有期望,而是竟然还有期望。探底了,又还不够底,少年少女眼神纯真,身强志坚,就此一步一步通往无光的所在。 银幕再见柯震东,赵德胤续《冰毒》后持续以影像射击,大量真实移工入镜,长镜头视野,近距离人生,写实影像锤打底层生活成炽烫影像,触目都生烟,偏又有爱情浇铸其中,卑微又仰望,炼成钢,更成绕肠柔,所求无非一点馀温,经过便都是馀生。
拉丁美洲的作品常常带着魔幻荒诞的色彩,影片故事正是发生在这里的墨西哥。艾莲娜是一个抚养三个女儿的寡妇,她的小女儿蒂娜(卢米·卡范佐斯 Lumi Cavazos饰)和青年佩德罗(马克·莱昂纳蒂 Marco Leonardi饰)相爱,但母亲却按照家族规矩,要把大女儿柔沙嫁给佩德罗,同时声明蒂娜要照顾自己直到归西。 佩德罗和柔沙结婚了。婚礼上,他向蒂娜吐露爱意,让蒂娜
杰(施坦·马洛萨SiddharthMalhotra饰)是一个标标准准的理工男,整日里成谜于数学研究之中无法自拔。虽然如此,但杰的桃花运却并不差,他和青梅竹马迪亚(卡特莉娜·卡芙KatrinaKaif饰)相恋多年。迪亚深深的爱着杰,一心想要和他携手步入婚姻的殿堂,并且为此做了诸多的准备,两天之后,她的人生梦想就要实现了。可是,就在这个节骨眼上,杰收到了一封来自剑桥大学的任职邀请书,邀请他成为那里的教授,这可是杰梦寐以求的理想。一边是自己的职业抱负,一边是对婚礼无限憧憬的未婚妻,杰不知道自己该做出怎样的选择。
星城区人民法院立案庭庭长方远,与榕州市中级人民法院刑一庭副庭长宋羽霏同为星城区人民法院副院长张伟民的徒弟,师徒三人将青春与热血都奉献给了中国的司法事业。而今,方远的徒弟兼法助周亦安也刚刚成为员额法官,曾经的师徒团,现在分散到不同的审判岗位,继续发光发热。最高法研究室的年轻女干部叶芯突然空降,让星城法院有了更多变化。这三代法院人,在一宗宗案件中,发扬着法院传帮带的优良传统,他们始终坚守着司法、道德、人性的底线。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
“铁证悬案2~真实之门”翻拍自同名人气美剧,第一季于2016年在wowow播出,描述吉田羊饰演的女刑警所在的调查组追查悬而未决的案件,抽丝剥茧一步步接近真相的故事。第二季原班人马再度集结,加上豪华客串演出阵容和大规模制作,日本特有的时代感和厚重的案件主题吸引了众多关注。 某日在一所大学地下挖出了白骨遗体,神奈川县警搜查一科的刑警石川百合(吉田羊)和高木信次郎(永山绚斗)前往现场和先行到达的金子彻(光石研)、立川大辅(泷藤贤一)汇合。通过遗体身上的学生证,证实被害人名为桥本诚司(吉村界人),1971年在参与学生和机动队激烈冲突的横须贺暴动后行踪不明。之后没过多久自称是桥本女儿,名叫惠美(奥贯薰)的人来到搜查一课。惠美称桥本和母亲在学生时代曾是激进分子。惠美和母亲每年都会从疑似桥本的人那里收到一笔钱,科长代理本木秀俊(三浦友和)和调查组成员一致认为此人仍...
帕布罗·拉雷恩确认执导朱丽安·摩尔主演的Apple TV+限定剧《莉西的故事》。该剧改编自斯蒂芬·金2006年出版的同名小说,斯蒂芬·金将负责全部8集的剧本撰写。小说讲述莉西的丈夫去世两年,一系列的事件让莉西不得不面对她一直在压抑、并想要遗忘的有关丈夫的往事。朱丽安·摩尔、斯蒂芬·金、J·J·艾布拉姆斯、本·史蒂芬森等担任执行制片。
The spirit of Mata Nui leaves to a faraway wasteland, when he and his people are conquered. There he helps unite 2 villages. They ask him to help defend the villages against the real enemy, the Skrall and Bone Hunters.@www.molikan.com
城市姑娘银环(魏云饰)和农村青年栓保(王善朴饰)是高中同学,在学习和生活中相互产生爱慕之情,两人相约高中毕业后到栓保的家乡朝阳沟参加农村社会主义建设。毕业了,栓保先行回到农村。但银环妈(杨华瑞饰)却坚决反对女儿去农村,银环却铁了心要到农村参加农业生产。银环来到朝阳沟后,栓保娘(高洁饰)和妹妹巧真(高颂喜饰)把银环当做自己的儿媳和嫂嫂对待。但城市长大的银环对农村的劳动还是产生了动摇。此时,银环妈追到朝阳沟要女儿跟自己回去,银环感到左右为难。但在栓保的鼓励下,加上村里老支书(朱义饰)又出面做银环妈的工作,使银环妈和银环的思想产生很大波动。是走,是留......
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