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Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
HD中字
Volodymyr
Babynych
Petro
Benjuk
安纳·祖马克
Yanina
Fayad
Olesia
Halkanova-Lan
Rinat
Khairullin
Olena
Khymych
Sehij
Iarmoshenko
Volodymyr
Klymuk
This is the story about man who had a great way. His adventures and losses, his life make you to be surprised. We invite you in the middle ages - a times of darkness, of heroes, of big power and of eternity love.
HD中字
萨玛兰·加萨尔
卡利·班纳吉
卡奴·班纳杰
卡鲁娜·班纳杰
苏迪普塔·洛伊
皮纳基·森古普塔
Panchanan Bhattacharya
Debabrata Chakraborty
Harendrakumar Chakravarti
Hemanta Chatterjee
Meenakshi Devi
Subodh Ganguli
Charuprakash Ghosh
Santi Gupta
Ajay Mitra
转眼之间,阿普(Smaran Ghosal 饰)长大了,然而,生活却并没有因此而变得更加宽容。和父母搬去博纳斯之后没多久,阿普的父亲就永远的离开了他的家庭,就这样,阿普和母亲过起了相依为命的生活。
母亲希望阿普能够成为一名神父,但阿普却并不这么认为,他希望能够就读正规的学校。最终,母亲顺从了阿普的想法。阿普没有让母亲失望,他用出色的成绩和光明的前途向母亲证明了他的用功和努力。阿普得到了念大学的机会,但是,对于他贫困的家庭来说,这个消息既是喜讯,亦是噩耗,为此,阿普和母亲之间发生了激烈的争吵,这一次,在亲情和未来之间,阿普和母亲会做出怎样的选择呢?
HD
The Seventh Companion (Russian Седьмой спутник, translit. Sedmoy Sputnik) is a 1967 black-and-white Soviet film set in St. Petersburg in the years following the Russian Revolution; its title is commonly translated as The Seventh Companion. The film marked the directorial debut of Russian director Aleksei German, who co-directed it with Grigori Aronov. The film is based on a novel by Boris Lavrenyov.
HD中字
Orestes travels to a small island during the pandemic in order to set up a music festival from scratch. Confronted with the small socie ty of the island, he will find involved in an extreme love story 克里斯托弗洛斯·帕帕卡里亚蒂斯阔别八年回归影坛作品,继“岛” “红河” “寂静之路”后又一部希腊剧佳片,疫病,难民,爱情,古典乐课。看似和谐的家庭关系之下又有多少暗流涌动?希腊碧海蓝天之间又隐藏着多少悲欢离合?一曲德彪西的月光,两段禁忌之爱,一幅描绘当代希腊人浪漫与苦情,挣扎与救赎的风情画。 10月13日希腊MegaTv独播,仅面向希腊地区观众,12月19日上线Netflix(希腊、塞浦路斯地区),23年年初将作为Netflix第一部希腊语剧集全球上映。
更新至HD中字
The main hero of the film is an electrician with a far greater effect on the people around him than his job defines. He is the last link in a huge energetic system and he becomes the binding bridge between the geopolitical problems of post-soviet space and the common people. The economic devastation of the country had an enormous impact on the industrial workers and yet despite the upheaval, these people did not seize to love and suffer, to have and be friends and to enjoy their lives… In particular our resilient electrician, who possesses a wonderful and open heart. He not only brings electric light (which is often out) to the lives of the inhabitants of this small city, but he also spreads the light of love, loyalty, life and mainly laughter.
HD中字
艾达·卡敏斯卡
约瑟夫·克罗纳
哈娜·斯利夫科娃
马丁·霍利
亚当·毛泰伊考
弗兰季塞克·兹瓦里克
米库拉斯·洛迪津斯凯
马丁·格雷戈尔
阿洛伊兹·克拉马尔
Gita
Misurová
Frantisek
Papp
海伦娜·兹瓦里科娃
Tibor
Vadas
Eugen
Senaj
路易丝·格罗索娃
1942年,沦陷的斯洛伐克某小镇上,德国人正在主持修建庞大的木制纪念碑,但当地木匠托尼(Jozef Króner 饰)对此并不关心,妻子的唠叨已经让他足够烦恼。托尼的妹妹嫁给军官后生活大有改观,托尼也借妹夫的权利,获赠一纸批文,得到了大街边一家犹太商店的所有权。店主是一位78岁的犹太寡妇劳特曼(Ida Kaminska 饰),耳聋眼花,托尼与她夹缠不清之际始发现这家商店徒有空壳,早已没有多少货物,然而照顾劳特曼可以得到犹太组织的酬劳,托尼于是瞒着妻子在店中帮工,对外却宣称自己是店长。不久,德国人开始把犹太人收押后运往集中营,托尼想要藏起劳特曼,但心中经历着巨大的煎熬。商店外,犹太人在纪念碑下集中出发,商店内,托尼面对不明所以的老妇借酒浇愁…… 本片获1966年奥斯卡最佳外语片奖。
HD中字
1945年,在二次世界大战的战火肆虐中,安娜和罗勃在德勒斯登相遇。一个是德国医院院长的掌上明珠,在家人以及未婚夫的呵护下成长,有着救助身旁所有人的一颗善良的心。另一个是英国皇家空军的轰炸机机师,在一次任务失败中坠毁德勒斯登。安娜救了他的性命,安娜善良温暖的心也打动了他。就这样慢慢地,两颗心越来越靠近… 在此时,发现了罗勃真实身分的安娜,是要选择罗勃,还是要接受未婚夫的求婚?
HD中字
卡奴·班纳杰
卡鲁娜·班纳杰
楚尼巴拉·德芙
尤玛·戴斯·固普塔
苏比·班纳杰
伦基·班纳杰
雷巴·德芙
阿帕纳·德芙
突利斯·查克拉波提
Haren
Banerjee
Rampada
Das
Nibhanani
Devi
Rama
Gangopadhaya
Roma
Ganguli
Binoy
Mukherjee
在20世纪初印度孟加拉的一个小村庄里。生活的艰辛使得村里穷苦人家充满了苦闷、忧虑与不和。哈里哈尔写了一首首诗,一个个剧本,但到处碰壁,无法出版。六年过去了,哈里哈尔家的房子更加破败不堪,贫穷一步不舍地伴随着他们。无穷无尽的烦恼,纠缠着他们。富人丢了东西,就赖杜尔加偷走了,尽管妻子萨尔博加娅不愿忍受这种侮辱,却也只能拿孩子撒气。哈里哈尔希望通过一举成名来重振早已破落的“门第”,可是,他每月八个卢比的微薄收入,以及沉重的家庭负担,致使他始终无法实现其各种美好的计划,就连维持家里人填饱肚子也做不到。他只好去异地他乡寻找一条出路,进城去赚了一笔血汗钱,谁料回到家时,等待他的却是巨大的灾难:暴风雨把房子冲塌了,十二岁的女儿杜尔加也病死了,萨尔博加娅痛哭起来。见此凄惨情景,哈里哈尔只好带领着妻儿离开故乡,去另谋生路,只有杜尔加长眠在这里。
正片
HD中字
安东尼·奎恩
朱丽叶塔·马西纳
理查德·贝斯哈特
阿尔多·西尔瓦尼
Marcella
Rovere
利维娅·文图里尼
Pietro
Ceccarelli
Giovanna
Galli
Gustavo
Giorgi
Yami
Kamadeva
Mario
Passante
Anna
Primula
Goffredo
Unger
Nazzareno
Zamperla
由于生活所迫,母亲把女孩杰索米娜(茱莉艾塔·玛西娜 Giulietta Masina 饰)卖给了江湖艺人藏巴诺(安东尼·奎恩 Anthony Quinn 饰)。在相处中,女孩却发现这个空有一身蛮力的家伙,根本不懂得照顾女人,他买她只是为了让她做牛做马,在他演出的时候扮演小丑,平时给他做饭,陪他睡觉。这种粗暴蛮横的家伙,让她萌生逃离的念头,然而,几次出逃,均告失败。 在一次观看高空走钢丝表演的时候,杰索米娜认识了绰号“傻瓜”的马戏团艺人——玛托(理查德·贝斯哈特 Richard Basehart 饰演),并且在他的引导下学会了演奏乐器。她非常感激,对这个男人产生了依恋。然而,但是藏巴诺的出现,再次打破了她的一切幻想,毁掉了来之不易的幸福……
HD中字
因争风吃醋被关入监狱的加林多•拉米列斯(豪尔赫•内格莱特 Jorge Negrete 饰)与同伴越狱来到何塞•恩里克(佛朗西斯科•加姆布里那 Francisco Jambrina 饰)的油田打工赚钱。何塞•恩里克因拒绝将油田卖给当地的垄断石油公司,在大赌场的老板埃尔(阿方索•贝多亚 Alfonso Bedoya 饰)和舞女卡米利亚(茉荷•芭尔芭 Meche Barba 饰)的陷害下神秘失踪。何塞•恩里克的妹妹,歌手默西迪丝(丽贝塔•拉玛克 Libertad Lamarque 饰)从阿根廷前来探望兄长,在得知噩耗后化名潜入大赌场调查真相,却与油田的新晋管理加林多产生了误会。二人能终释前嫌共同对抗垄断石油公司吗? 本片是路易斯•布努艾尔沉寂15年移居墨西哥后所拍摄的第一部电影。
HD中字
HD中字
Sara
Luna
Zoric
Lazar
Dragojevic
Ernad
Prnjavorac
Sanja
Buric
雅丝娜·杜里契奇
Mirsad
Tuka
埃米尔·哈齐哈夫茨比哥维奇
Ali
Zijlstra
Alena
Dzebo
Alija
Aljevic
Mirjana
Jagodic-Marinkovic
玛利洛·尼佐维奇
Jelena
Kordic
Damir
Kustura
Mehmed
Porca
这部影片讲述了少女阿尔玛不断追寻自我身份的故事。阿尔玛的父母是南斯拉夫人,但她从小在荷兰长大,因此认为自己既不属于东方,也不属于西方。她的生活经历让她早早明白了性的奥秘,却依然对世界保有孩童般的纯真。成年之际,阿尔玛决定从荷兰出发,在堂兄埃米尔和其朋友丹尼斯的陪伴下前往波斯尼亚,去见她从未谋面的父亲。在这段离奇波折的旅途当中,发生了许多意料之外的事,但无论如何,阿尔玛都决定坚持到底。在完成找到父亲的计划之前,她必须先找到真正的自我。
HD中字
普拉部·地伐
Vetri
Kiran
Chandrasekar
Koneru
Prema
Priya
普拉卡什·拉贾
Samuthirakani
瓦拉拉克什米·萨拉特库马尔
Shaam
Raiza
Wilson
Tsr
In a tragic accident, Kathiravan loses his wife and his left leg. A few years later he decides to get a prosthetic leg with the compensation amount. Kathiravan's life gets more complicated when his daughter Magizh gets hospitalized.
HD中字
HD中字
安老院最受欢迎的是什么,你懂的。老耶爱扮上帝致电一只脚已在天堂的老人:“天堂暂时无配额,继续和日子拼吧。”他很得意做了续命天使,不过上天看上这个机器达人,另有安排。垂死老友的妻子怂恿他发明死亡机器,知情者竟勒索老耶帮老婆圆梦安乐死。老耶如再世阎王,更组成死亡兵团,德行传遍安老院。自救自强相扶持从来是对付命运的杀手锏,两导举重若轻,以黑色和荒诞冲击无情的道德封锁区。获西班牙瓦拉多利德电影节最佳电影奖、威尼斯影展最受观众欢迎奖。
HD中字
欧嘉·博拉茨
彼得·波拉克
塞巴斯蒂安·斯坦齐维兹
海伦娜·诺罗维茨
沃伊切赫·杰林斯基
巴特洛米耶·菲莱特
Bartosz
Cao
Anna
Konieczna
阿加塔·布泽克
阿尔卡迪乌什·雅库比克
博格丹·科卡
Roma
Kox
巴托斯·比莱尼亚
Bartosz
Adamczyk
Kamil
Tolinski
莫迪斯特·鲁辛斯基
Marcin
Sitek
Wojciech
Michalak
格泽戈兹·伊曼纽尔
卡西亚·克莫泽克
2030是个智能的时代,每个人身上都被植入了智能芯片。男主角克日什托夫曾是天才级教授工程师最亲来的助理,却在被植入智能芯片后失去了部分记忆,以新的身份“亚当”在一幢办公室里担任清洁工。有一天,他发现一个陈旧的电视机,这就是所谓的“魔术盒”,这将他与一位叫戈里娅的女人联系起来……
HD中字
HD中字
這是一部意大利驚悚片,是個沒出名的經典作品。 故事的開始是在全國各地旅行的年輕夫婦,他們犯了一個錯誤,就是接受了一個搭便車者,而這不速之客竟然是一個暴力犯罪的銀行劫匪。 這部驚悚巧妙的掌握到瘋狂轉折的情節。攝影很時尚,有美麗的鄉村。音樂雖然有點不搭,但也很棒。此外,還有相當數量的暴力和裸體。 這部電影的真正亮點在於三位明星,他們在整部影片中都有搶眼的表現。 Franco Nero的表演令人信服,是個嗜酒的記者,對妻子漸漸感到厭倦。飾演妻子的Corinne Clery同樣疲憊於Nero,而她有個動人的身材。這種情況正好給惡棍大衛赫斯提供了絕佳的機會…… imdb評論
HD中字
HD中字
亚当(Robert Gonera 饰)和斯蒂芬(杰克·波楚许 Jacek Borcuch 饰)是两个充满了理想抱负的年轻人,他们想要开设属于自己的单车工厂,于是囊中羞涩的两人决定找银行贷款,可是,银行并不相信他们的这笔生意可以赚到钱还贷,拒绝了他们的请求。 就在这个节骨眼上,亚当和斯蒂芬的老朋友杰拉德(安德热·柴拉 Andrzej Chyra 饰)出现在了两人的面前,并且愿意对他们施以援手。很快,工厂就建立了起来,一切似乎都走上了正轨,可此时,亚当和斯蒂芬却发现,杰拉德表面和善,可内心贪婪自私,正在觊觎着未来本该属于他们的财产。亚当和斯蒂芬决定结束和杰拉德的合作,可事情并没有他们想象中的那么简单。
HD中字
高清
HD中字
HD中字
HD中字
扬·利比切克
瓦茨拉夫·巴布卡
约瑟夫·贝克
Karel
Belohradský
Bozena
Böhmová
尼娜·蒂维斯科娃
Josef
Elsner
Josef
R.
Engel
科维塔·菲亚洛娃
Ladislav
Gzela
Karel
Hovorka
弗拉迪米尔·赫拉巴内克
伊日·哈莱克
Vladimir
Jedenáctik
Pavel
Jiras
Jan
Kacer
Václav
Kotva
伊里·里拉
雅罗斯拉夫·马雷什
Josefa
Pechlatová
伊里·普拉希
Ljuba
Sko
This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script. The director Evald Schorm (1929-1988) was one of the most original members of the Czech New Wave. During the normalization era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the Na zábradlí Theater and Laterna Magika.
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梅姐以为生命裡的欢愉都离她远去,直到重遇前夫志远,志远因欠债拖著一条腿,梅姐肩上则扛着整个家庭,母亲失智,儿子身心失调,深夜必须用手替他解决需要。志远巧手能玩布袋戏,帮梅姐在电视台卖药,一掌定乾坤,还能空出一手托起梅姐腰肢,爱若腾云。梅姐以为家裡多了栋樑骨,但生活仍持续在她背脊上加添重,女儿、母亲、情人,一重身分是花朵一重瓣,花开多豔,终究细枝难撑,风流终被雨打去。家是枷,还是甜蜜的负荷?梅姐一生能分给这么多人,但一颗心呢? 女人花,花朵骨挺拔撑起残破的家枝繁叶茂,偏乡单亲家庭、长照议题、青春期身心失能者无助的性等议题都入镜,犹能含苞吐蕊,摩挲女子内心幽微光影。蝴蝶是花的魂魄,回来找自己,本片犹如台湾女子图鉴,每一幕都是自己。不能自己。
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汤马斯(提姆·卡尔克霍夫 Tim Kalkhof 饰)是一名年轻的蛋糕师傅,某日,他邂逅了英俊帅气的欧伦(罗伊·米勒 Roy Miller 饰),两人很快就走到了一起。实际上,欧伦在耶路撒冷已有家室,只是和妻子聚少离多。 一天,汤马斯意外的收到了欧伦的死讯,心碎欲绝的他做出了一个大胆的决定,那就是前往耶路撒冷去探访欧伦的妻子。在那里,汤马斯见到了这个同样伤心的女人安娜(莎拉·埃德勒 Sarah Adler 饰)。汤马斯隐瞒了自己的真实身份,留在了安娜所经营的咖啡店里打工,哪知道他做甜品的手艺很快就获得了当地居民们的喜爱,安娜也对这个男人日渐亲近起来。
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A massive earthquake strikes the United States, which destroys the West Coast and unleashes a massive flood that threatens to destroy the East Coast as well. If you're wondering about this film and why it's dubbed in Italian, then read the following comment from IMDb I have always wondered about the disappearance of Deluge. Why for so many years, seemingly since it's release in 1933, this film vanished from the face of the earth. After seeing it, courtesy of the efforts of Mr. Wade Williams Co., I'm still puzzled, but I have a theory. In 1933, the code was enacted that pretty much took care of sex and violence in Hollywood. While not an explicit film by any means, Deluge does deal fairly frankly with sexuality, lust and rape. I wonder if RKO discovered they had a film that they could not re-release, much like the fabled lost Warner Bros. comedy Convention City. It's a shame for, while it is a dated film, I find it quite unique and surprising for it's era and a fairly successful attempt to create something different in an era when films were already becoming cookie cutter by-products of the studio machine (not that many of those cookies aren't tasty, mind you). And even though the only available copy at this writing is dubbed into Italian, I don't find that a hinderance. An excellent job was done in subtitling the film, and much of the film is visual anyway.
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莱克(13岁)是工党一位著名政客的女儿,她意外地殴打了她的同学杰米,杰米是当地一位右翼政客的儿子。莱克声称杰米的死是一场意外,但没人相信她。学校校长丽芙是一位理想主义者,她违背自己的政治信仰,一直与杰米的父亲卡尔·埃里克保持着秘密关系。当他们不能再为他们的关系保密时,周围的环境会做出难以置信的反应。丽芙的哥哥安德斯是莱克和杰米的班主任。事故发生时,他本应在学校操场上,却因未能阻止事故的发生而深感内疚。就像水环绕着海底一样,我们将体验社区与事故和后果的关系。这是怎么发生的?之后又怎么可能继续生活呢?
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更新至第30集
拉多万·卢卡夫斯基
古斯塔夫·瓦拉赫
艾米丽娅·瓦萨约娃
威廉·波洛尼
Jela
Buckova
Jozef
Cierny
Pavel
Chrobak
米库拉斯·洛迪津斯凯
Ivan
Macho
Ján
Mildner
Andrej
Mojzis
Jan
Pelech
卢多维特·赖特尔
斯特凡·克维季克
Milan
Mach
与Stefan Uher和Elo Havatta一样,Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》(1964)《尼绒月亮》(1965)和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
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罗塞塔(瓦伦蒂娜•斯卡里希 Valentina Scalici 饰)和卢恰诺(朱塞佩•伊拉西塔诺 Giuseppe Ieracitano 饰)是一对相依为命的姐弟,她们的母亲因为逼女儿卖淫而锒铛入狱。此事遭媒体曝光后,两人随后被两个警察送上了去孤儿院的列车。其中一个警察因事先行告退,将姐弟俩托付给警察安东尼奥(恩里克•洛维索 Enrico Lo Verso 饰)独自看护。姐姐背负着雏妓的心理压力,但是弟弟却总是我行我素,两人常常发生争执。安东尼奥总是默默旁观,小心翼翼地呵护着两颗稚嫩的童心。在经历了抢劫、酒店驱逐,学校开除、哮喘疾病等一连串霉运后,安东尼奥似乎跟姐弟俩建立一种亦父亦友的关系,然而一张报纸却让他们的世界陷入崩溃的边缘…… 本片获第45届戛纳电影节评委会大奖。
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来自德国的丹尼尔·布鲁赫与西班牙的老牌影星路易斯·霍马、年轻帅哥米格尔·安格·希尔维斯特共同出演大制作影片《赌王家族》,被导演Eduard Cortés称为“梦幻阵容”。影片改编自真实故事,讲述了西班牙加泰罗尼亚地区赫赫有名的Pelayo家族的故事。他们曾在阿姆斯特丹、拉斯维加斯、澳大利亚、巴黎、马德里、澳门等地的赌场里用合法的手段赢取了大量的财富,发家之后在西班牙各地建立起产业,很多赌场都用他们家族的名字命名。 片中,路易斯·霍马扮演家族的父亲,已经多次出演过西班牙电影的布鲁赫是他的的儿子。《赌王家族》将在欧洲最豪华的赌场取景,此前背景设置在澳门的一场戏更征集了200多名的华人演员。
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1945年,在二次世界大战的战火肆虐中,安娜和罗勃在德勒斯登相遇。一个是德国医院院长的掌上明珠,在家人以及未婚夫的呵护下成长,有着救助身旁所有人的一颗善良的心。另一个是英国皇家空军的轰炸机机师,在一次任务失败中坠毁德勒斯登。安娜救了他的性命,安娜善良温暖的心也打动了他。就这样慢慢地,两颗心越来越靠近… 在此时,发现了罗勃真实身分的安娜,是要选择罗勃,还是要接受未婚夫的求婚?
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Freder(Gustav Fröhlich 饰)是大都会主宰 Joh Fredersen(Alfred Abel 饰)的儿子。经一位圣洁姑娘(Brigitte Helm 饰)启示,Freder 来到地下目睹了在此劳作的劳工们悲惨的境遇。Freder 向父亲进言,想改变劳工们的处境。但 Joh 不为所动,却对从劳工们身上发现的地图感到忧虑。为弄清地图所示,Joh 不得不向老对头 Rotwang(Rudolf Klein-Rogge 饰)求教。地图所示究竟为何地?劳工们为何要去那里?
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桑多尔·恰尼
佐尔丹·穆奇
乔包·平德罗奇
桑多尔·包达尔
若尔特·瑙吉
埃斯泰尔·包洛
洛约什·科瓦奇
Bence
Mátyássy
杰泽·萨博
彼得·谢赖尔
乔治·切豪尔米
拉斯洛·纳道希
亚诺什·库尔考
埃尼克·埃塞尼
若尔特·拉斯洛
包拉日·米哈伊菲
卡罗伊·霍尔瓦特
拉斯洛·比奇凯伊·基什
约瑟夫·托特
亚诺什·德尔日
包拉日·拉扎尔
Melinda
Völgyi
出生于美国的匈裔导演尼莫洛德的第一部剧情长片,去年戛纳电影节一种注目单元最佳影片,荣获多项国际大奖的肯定,并入围去年奥斯卡最佳外语片的角逐。 一部怪异、有趣、几乎全在布达佩斯地铁站里拍摄的电影,描述一群地铁站验票员的生活,却又带着观众进入到地铁里不为人知的阴暗死角,发现惊悚血腥的秘密。
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The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church. On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
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故事发生在九十年代末期的西贡,乌是一名摄影系的学生,平日里喜欢举着一台照相机四处乱拍,记录周遭的影像。乌的室友唐是一个非常放浪形骸的男人,常常出没于灯红酒绿的夜总会之中,唐所散发出的魅力和神秘感让乌感到深深的着迷。 在唐的带领下,乌也来到了夜总会之中,结识了舞女万,虽然乌和万发生了一夜情,但乌内心里想的更多的竟然是唐。一场意外中,乌和唐踏上了逃亡的旅程,来到了位于湄公河三角洲的一个小小村庄之中,在这里,乌的父亲将一个简朴的女孩子介绍给乌做他的老婆,但乌对这个女孩没有任何的感情。反倒是唐,和这个女孩打得火热。
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Taking the identity of a dead postal inspector found on the trail, a stranger rides into a small western town and finds himself in the middle of a stagecoach robbery perpetrated by a gang of twenty ruthless desperados. Finding out the object of the heist was not a strongbox as it seemed but a solid gold stagecoach, he enlists the aid of a down-and-out old preacher and tracks down the dangerous gang and their unsuspected ally.
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埃里克森牧师在瑞典一小镇宣扬基督的爱,认为爱是上帝存在的证明,但围绕在他身边发生的事却弥漫着世界末日的气息,因为他与人全无沟通。上承《犹在镜中》,下启《沉默》的《信仰三部曲》中间作品,场景集中(室内剧形式),时间短促(发生在一天内),虽然简洁但传递出深刻的涵义。
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内容简介: 19世纪中叶,在瑞典南部斯迈兰(Smaland)的一个农村小社区里住着一对年轻夫妇,克里斯蒂娜和卡尔·奥斯卡。他们靠着一小块贫瘠的土地勉强度日。世事艰难,人们遭遇到恶劣天气,收成锐减,一片凄凉。这对夫妇的第一个孩子因饥饿偷食了食物而死去。这次饥荒加上孩子的死,使得母亲接受了父亲移民美国的决定。他们同另一个躲避宗教迫害的家庭和一名逃避恶妻的男子等人一起结伴同行。 电影余下的部分描述他们乘坐一艘摇曳的航船的艰难旅程,他们穿越了大西洋和内陆,最终来到了现今的美国明尼苏达州。整个迁移花费了10周时间。在明尼苏达州,那些死里逃生的移民将在这个新世界里开始他们的新生活…… 本片是一部北欧人移民到美国的史诗电影。片中尽是长镜头及壮观的大自然景象。从《征服者佩尔》中可以看到本片的影子。由马克斯·冯·西多与丽芙·乌曼主演,曾获奥斯卡最佳影片提名奖。
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This film took the top honor at the 1969 Berlin Film Festival. After a series of documentaries, this marks the directorial debut for Zelimir Zilnik. It takes a decidedly anti-Stalinist view in the wake of the 1968 Russian invasion of Czechoslovakia and raises important political questions. He states that although the world has experienced untold wars, there have only been a handful of revolutions with any lasting significance that lead to political change.
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