电影筛选Between 1968–73, Ålandic writer Anni Blomqvist published five novels that together chronicle the life of Stormskerry Maja. A simple peasant woman whose days are long and full of hard work, Stormskerry Maja believes in God in an unassuming, humble way, and as years pass, finds herself with a small amount of independence.
In this suspense drama, three men – Alex, Greger and Henrik – spend an extended weekend in a remote cabin, intending to hunt deep in the Swedish woods. Their plan is to go duck hunting on a lake and stalk deer in the woods. An initial spell of hunting success sharpens their instincts and stirs a sense of rivalry. But one day all animals vanish without a trace and the forest turns eerily quiet. Yet the men are determined to continue the hunt.
Enea, Aeneas, pursues the myth that his name bears. He does it to feel alive in a dead and decadent age. He does it in the company of Valentino, a newly christened aviator. Together with the drug dealing and the parties, the two boys share their youth. Lifelong friends, victims and perpetrators of a corrupt world, but moved by an incorruptible vitality. Beyond the boundaries of the rules, on the other side of morality, there’s an ocean of humanity and symbols to discover. Enea and Valentino will soar over it to the furthest extremes. But the drugs and the underworld are the invisible shadow of a story that speaks of something else: a melancholy father, a brother who has conflicts at school, a mother defeated by love and a beautiful girl, a happy ending and a happy death, a palm tree falling on a world made of glass. It is between the cracks of everyday life that Enea and Valentino’s adventure gradually finds reprieve. An adventure that may seem criminal to others, but which for them is, and will be first and foremost, an adventure of friendship and love.
A main character of the incest movie "Gli sfiorati", in english is also known as Drifters, is Mète. He is 30 yeras old graphologist, enchanted by the secrets that can reveal the human hand. A week before father's wedding, his 17 years old stepsister moves to his Roman apartment. She is very hot and sexy teenager and the new neighborhood is now the beginning of their friendly (well, not exactly friendly) relations.
Ema is the successful TV anchor of a national TV broadcaster, the star of a tabloid show. A perfectionist, she has no hesitation in putting at steak her health or money for higher ratings. One of her cases brings her in a middle of a huge scandal which will dramatically change her life. Ema will discover that behind all things happening to her are unexpected characters...
《八月三十一日，我在奥斯陆》的金奖编剧艾斯基佛格，今年首执导演筒长片作品《盲》，一鸣惊人横扫国际各大影展，拿下柏林影展最佳欧洲电影奖、日舞影展世界电影单元最佳剧本奖，以及入围挪威奥斯卡七项大奖。透过独特的叙事结构与影像魅力，捕捉盲眼女主角内心的脆弱与偏执。 最近失明的英格丽 几乎足不出户，尽管失去了视力，但她的心与想像力仍旧清晰而活跃，但恐惧却让她在自己的内在世界，书写出另一个人生剧本。 她时常幻想外出上班的丈夫偷溜回家，观察她在家中的一举一动，或是在网路上认识了一名单亲妈妈，偷偷与她约会；英格丽看见他们在餐厅里谈笑着，突然间，女子失去视力... 而察觉到异样的丈夫不久和女子分手，但她却说自己怀孕了，还挺着大肚子到派对上找他对峙。正当女子一身滑稽的礼服成为众人的笑柄，英格丽仿佛走进自己的幻想世界，化身成穿着礼服的女子和丈夫对峙着...
2005 年，舞会后派对原本是一个欢乐的夜晚，但很快却变成了伊菲最可怕的噩梦。她从那晚起就一直背负着一个黑暗的秘密，直到成年，这个秘密仍然困扰着她的日常生活。
母亲（松佳·里奇特 Sonja Richter 饰）病重，艾尔玛（Harald Kaiser Hermann 饰）和艾瑞克（Albert Rudbeck Lindhardt 饰）兄弟两人无人照顾，只能被送往由校长赫克（拉斯·米科尔森 Lars Mikkelsen 饰）所开办的寄宿学校之中。赫克是一个信奉暴力的男人，他坚信，唯有通过武力才能够令学校中的孩子们真正信服，才能够引导他们走上正确的道路。 兄弟两人在这座名为学校实为监狱的牢笼之中受尽折磨，圣诞节妈妈会来接他们回家的承诺成为了他们生存下去的唯一动力，然而，两人等啊等啊，等来的却是妈妈的死讯。莉莉安（苏菲·格拉宝 Sofie Gråbøl 饰）是学校里新上任的文学教师，她敏锐的察觉到了这所学校里正在发生的惨无人道的暴行，却对这一切无能为力。
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.
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