电影筛选The story is carried by Mady, student by day, locksmith by night. But Claire, the enigmatic young woman she is helping out one night, isn’t what she seems to be. This door isn’t that of her apartment. And the bag she wants to recover at all costs isn’t hers, but Yannick’s, a man whose questions Mady will have to answer to. Caught in a hellish race, Mady only has one night to prove her innocence in a bustling city. One night to save her own skin.
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。
故事发生在1990年夏天前东德图林根州附近的乡村。即将年满19岁的玛丽亚和男友约翰内斯住在约翰内斯父母的农场里，她宁愿沉浸在书本中，也不愿专注于毕业。随着德国的统一，人们有一种新时代来临的感觉。 当玛丽亚遇到住在隔壁的农民亨纳时，玛丽亚与这个比她年龄大一倍、任性、有魅力的男人燃起强烈的激情。在充满未知的气氛中，爱情诞生了：一种充满渴望和欲望的秘密激情，吞噬了前进道路上的一切。
Sophie is a twenty-year-old American woman who has lived all her solitary life in a bubble. During a vacation in Palermo with her sister, she meets Giulio and his group of Sicilian friends. Anxious to let go and live life to the hilt, Sophie decides to walk along the edge of disaster and gets sucked into a vortex of risky behavior that turns a mere romp on the wild side into a heart-pumping fight for survival – and redemption.
36 岁的阿里斯在父亲将他赶出家门后开始住在自己的车里。他在街上刮胡子，吃他母亲带到车上的食物，并申请他母亲在报纸上为他标记的招聘广告。在经历了一系列的拒绝之后，他开始挨家挨户推销 Karnaval 品牌的地毯清洁剂。艾莉丝和“Karnaval”之间形成了不寻常的纽带。卡纳瓦尔甚至搬来与阿里斯住在一起，占据了他汽车的前排座位。在这次新的冒险中，阿里斯遇到了一位名叫德梅特的婚礼蛋糕师。自从母亲去世后，她就和父亲住在一起，梦想着骑着摩托车搬到伊斯坦布尔，在那里开一家面包店。
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.
刚刚遭受丧子之痛的家庭主妇凯伦（波迪尔·约根森 Bodil Jørgensen饰），敏感脆弱。她失魂落魄的游荡在哥本哈根的街头，在餐厅进餐时偶遇一位紧握她手不放的白痴。出于同情心，凯伦一路跟随他，目睹了一群终日装疯卖傻的“白痴们”。其实这群年轻男女并非是真正的弱智者，他们是以史托佛（杨斯·艾宾纳斯 Jens Albinus饰）为首佯装白痴的正常人。为了向中产阶级体制挑战，他们不顾舆论压力，以欺骗他人、玩弄他人为乐。凯伦一方面无法彻底成为“白痴”，一方面又对他们的行径梦寐以求。渐渐地，凯伦开始在她的家人面前扮演起了白痴，深陷其中不能自拔。本片入围1998年第51届戛纳电影节主竞赛单元-金棕榈奖。这部以“道格玛95”为电影拍摄准则的影片，不仅在拍摄手法上完全不顾画面的美感，更是继《感官世界》后又一部大量暴露性器官镜头的影片，极度挑战着电检制度和观众的道德尺度。《白痴》与《破浪而出》、《黑暗中的舞者》合称“良心三部曲”。
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