电影筛选The film comprises six interconnected stories, one of them co-written with actress-screenwriter Iulia Lumânare. Interestingly, the feature recycles (and completes) The Christmas Gift and another, unreleased short film, New Year’s Eve. One of the protagonists is Ştefan Silvestru, the director of the national television station, who has to deal with a career-ending issue: an actress who appeared in a sketch to be broadcast on New Year’s Eve has defected the country. Silvestru’s son, Laurenţiu, who plans to defect by swimming across the Danube to Yugoslavia, is the protagonist of another story, all six of them exploring the atmosphere in Bucharest before the “end of the world”, or the fall of the regime.
年轻指挥家亚德里安（奎姆·古铁雷兹 Quim Gutiérrez 饰）的女友贝伦（克拉拉·拉戈 Clara Lago饰）失踪了，活不见人死不见尸，只留下一段视频讯息。郁闷的亚德里安不断被警察怀疑和调查，烦不胜烦之下到小酒馆浇愁，一不小心喝的大醉，受到女招待法比安娜（玛蒂娜·加西亚 Martina García）照顾，两人迅速陷入新的恋情。很快，法比安娜住进亚德里安的大宅，敏感的她时时感到房子里面不对劲，浴室里面好像总有奇怪的声音，亚德里安对此不以为意，但法比安娜开始时时留心，还一度怀疑是他前女友的鬼魂作祟。一天，在卧室更衣的法比安娜拾到一把古怪的钥匙，似乎接近了一个天大的秘密……
Ali Osman is a former bully of city of Istanbul. But lately he gives up bully and starts to operate a synthetic pitch. He often meets his old friends, former bullies, too. One day Ali Osman receives a news which is related with his previous passionate life. Then the whole action stats as a chain of events. He learns not only he has had a son named as a Murat, also he realizes that his son has got a enemy called as Devran for his son's relationship with a attractive and fine girl, Karaca.
4年前，臭名昭著的拉西欧监狱发生了一场暴动，这一事件引起里约热内卢州社会的广泛争论，也不同程度改变了许多人的命运。直接领导精英部队（BOPE）的罗伯特·纳西贝托中校（Wagner Moura 饰）由此荣升为安全局的副秘书长，拥有更大的施展空间；而他的爱将安德鲁·马蒂亚斯（André Ramiro 饰）被政客当作替罪羔羊，踢出了BOPE部队。当然，纳西贝托也遭受着来自政坛、战友和家人各方面的压力，他将一腔愤懑转化到工作中，不仅扩编强化了BOPE的实力，还通过一次次铁腕的打击荡涤了贫民区毒贩的罪恶势力。 毒贩销声匿迹，黑暗的阴霾却未散去。以罗卡（Sandro Rocha 饰）等人为首的腐败警察势力进入贫民窟，他们欺行霸市，官匪勾结，成为里约州另一个难以祛除的顽疾……
遥远的北欧地区，瑞典的斯德哥尔摩一片银装素裹，寒气逼人。12岁少年奥斯卡（Kåre Hedebrant 凯尔•赫德布朗特 饰）生活在一个单亲家庭，他在学校形单影只，饱受欺负；回家后则偷偷搜集关于各类凶杀案的剪报，或者深夜挥着小刀在树上发泄着自己的愤怒。 新搬来的小孩爱莉（Lina Leandersson 莉娜•莱纳德尔森 饰）走进了奥斯卡的生活，他们慢慢成为朋友，并逐渐产生爱情。而就在此时，奥斯卡无意中发现爱莉一个令人毛骨悚然的秘密…… 本片改编自瑞典小说家约翰•林德科维斯特（John Ajvide Lindqvist）2004年的同名畅销书，并荣获2008年翠贝卡电影节最高奖、2008高森博格电影节最佳北欧电影奖及柯达最佳摄影奖。
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.
电影周榜单
友情连接：