这部电影集滑雪各个方面于一身,为所有观众打造了一部精彩的电影。滑雪是一项美丽的运动,这部电影捕捉到了在深粉雪中滑雪或撕掉新鲜美容师的感觉。我会向我的滑雪伙伴推荐这部电影,但也推荐给对这项运动一无所知的人。滑雪可以让您以其他方式无法比拟的方式了解世界各地。 《追影》的剧情很棒,很能吸引观众的兴趣。这部电影中使用的音乐很棒。将电子音乐与西方音乐相结合,有一首适合各种心情的歌曲。我喜欢滑雪,这部电影是表达滑雪之美的绝佳方式。
Yaşar, a young man, has a hard time after his father's death. His inheritance from his father causes Yaşar to have problems with his stepmother. Meanwhile, Yaşar learns that her sister-in-law, Canan, who is living in the same house, is in love with her. While Yaşar is dealing with the inheritance issue and his sister-in-law, he realizes that there are some strange events at home. Yasar's mentally disordered daughter Efsun's dark past is unearthed, making things even more complicated. The pain of the family, who had to face the dark past of Efsun, is just the beginning for them.
In a post-apocalyptic adventure in the Swedish archipelago, a science team struggles to find a way to protect the few surviving humans from a lethal mushroom organism. Forced on a journey through the wilderness to find a new bunker in which to continue their research, they come into conflict with an armed gang that uses a drug to delay the effects of the organism. The scientists want to find a more permanent solution, and have to fight for the very survival of humanity.
Vera and André are a couple who get the chance to pitch their business at a prestigious competition. Before the competition, Vera tries hypnotherapy to quit smoking, with an unexpected side effect: she loses all social inhibitions. André has a hard time dealing with this. When it risks ruining his career, he’s torn between accepting her new personality and taking drastic measures to make her stop.
Who really is Diabolik, the ruthless Italian comic book antihero? The final chapter of the Manetti Bros. adaptation sets out to find the answer. Taking a leap in time to the 1970s, a period of unrest marked by the Vallanzasca and Magliana gangs, student protests and street killings. The story begins with car chases and machine gun shots that leave innocent victims dead on the street. It’s not Diabolik pulling the trigger, as he has his own code of ‘professional’ ethics and only kills when necessary. Instead, it’s a gang of criminals responsible for the bloodshed, wreaking havoc in the city with gratuitous and unscrupulous violence. Captured by the gang, Diabolik and his nemesis, Inspector Ginko, find themselves locked in a cell with no way out.
Far from Tel Aviv and big city crimes, Daphna, 40, a promising police officer with a big mouth, finds herself in the small town of Afula dealing with petty crimes, seeking shade from the scorching heat, taking care of her aggressive cat, but more importantly, dodging the nagging question:" When are you going to get married, and have children?". The disappearance of Orly Elimeleh, a beautiful and wild 36 year-old army widow and former beauty queen, soon raises another troubling question for Daphna - why isn't anybody looking for her? This indifference towards Orly's uncertain fate shakes Daphna to the core as she begins to identify with her and to suspect the worst. Her concern gradually consumes her life, blurs her reality and causes her to question whether she is just imagining things, or is she on the contrary, the only one seeing things clearly. Matan, the younger 34 year-old son and "black sheep" of the powerful Oheyon's, Orly's late husband's family, seems to be the only one who ...
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
Alice (Kristanna Loken) is a ghostwriter for a famous bestselling author. She is half through the work of the his new book, but cannot write anymore. A year before she has had a terrible accident in Malta where she was staying with her husband Max (Antonio Cupo) in his family villa and she was in a coma for two weeks. On waking up she had lost part of her memory and has no recollection of the accident and her stay in Malta. Since then, she has been suffering from depression and has recurrent and cryptic nightmares. Max who is her agent as well persuades her to go back to Malta hoping that something will unblock her mind so she can start working again and meet the last delivery deadline the publisher has given her. In the beautiful Maltese villa surrounded by lemon trees, they are welcomed by a stunning Mediterranean girl Sara (Sarai Givaty) Max has hired to help around the house. the girl immediately establishes a friendship and trust with Alice. Two different women, one sensual and self-assured, the other mysterious and insecure... In the meantime, another stranger Castellano (Giulio Berruti) is snooping around the villa, spying Sara, talking to Alice and exchanging items with a local policeman. Are ours characters really who we think they are? Is there a different version of the truth ?All is about to be seen ...