Tells the story of Hassan - a security guard living an impoverished life with his mother who dreams of traveling and living abroad. One day he stumbles on the sport of blind soccer and cunningly decides to pose as a visually impaired man to join a team right before the World Cup tournament in Europe.
德科(拉加诺·拉莫斯 Lázaro Ramos 饰)和纳德西诺(瓦格纳·莫拉 Wagner Moura 饰)是一对从小在一起生活玩耍的好朋友,他们情同手足,亲密无间,且共同拥有一艘小船。某天,性感美丽的妓女卡琳娜(艾莉丝·布莱加 Alice Braga 饰)计划去萨尔瓦多,两兄弟对她垂涎已久,遂谈好价钱,载她同行。三人一路悠哉游哉,吃喝玩乐,尽享鱼水之欢。原本以为是一趟天堂之旅,但在充满诱惑和魔性的卡琳娜面前,德科和纳德西诺的情感渐渐失控…… 本片荣获2006年ABC摄影奖最佳剪辑奖、2005年戛纳电影节青年奖、2005年哈瓦那电影节最佳处女作特别提及、2005年洛杉矶拉丁国际电影节最佳剧本奖等。
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。
再过不久,贝茨(Tabrett Bethell 饰)和丈夫卡麦林(安迪·惠特菲尔德 Andy Whitfield 饰)就将迎来属于他们的孩子,两人完全沉浸在幸福的氛围之中。在回老家的路上,夫妻二人入住了一家汽车旅馆,而就在当天夜里,卡麦林绝望的发现大着肚子的贝茨失踪了。直觉告诉卡麦林,这一切都是旅馆搞的鬼,爱妻心切的他不顾警察的阻拦独自踏上了寻妻之路。 醒来的贝茨发现自己被困在了一间废旧的工厂里,同时,肚子上的伤口告诉她,孩子已经不知所踪。在工厂里,贝茨发现了许多和自己一样被绑架而来并且强制生产的妇女,母爱使然,她们决定团结一致,找到各自的孩子,逃出这噩梦般的地方。然而,随着行动的步步深入,贝茨发现自己似乎陷入了一个恐怖的阴谋之中。
Piotr Czarny is a charming thirty-something lawyer. He is constantly chasing adrenaline, women and parties. His goal was to fill the list of mistresses with names for every letter of the alphabet. His plan is put in jeopardy when a colleague, Olga - the only woman he's completely honest with and doesn't sleep with - gives him an ultimatum.
《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...
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.
土耳其举重运动员奥运会冠军奈姆•苏莱曼诺古传记。
当一方发现另一方不忠之后,两人看似完美的夫妻关系开始动摇,但情感关系的维系又谈何容易呢?
根据真实事件,印度尼西亚巴厘岛发生抢劫案,四名来自国外的专业银行劫匪和ATM机破坏者在巴厘岛横冲直撞。劫匪闯入一家钱币兑换中心的办公室后,将多名职员殴打至昏迷不醒。这些职员清醒后,发现嘴巴被贴上胶纸,他们自行脱身后向警方报案。巴厘岛警方正在紧追不舍地追捕劫匪。这几名劫匪非常的有经验,准备充分,下手迅速。还没等警方及时出警,他们就已经消失了。而且这伙匪徒十分的贪婪,另外多次策划了其他的抢劫案。不过在警长西卡的努力侦破下,警察很快发现了劫匪的漏洞和行踪。并且提前预判了了劫匪的下一个行动目标。就在劫匪们兴高采烈的开始新一次的抢劫时。警方赶到现场时,发现劫匪的行踪,立即展开追捕行动……
Maníaco do Parque mergulha na história do maior serial killer brasileiro, o motoboy Francisco (Silvero Pereira), que foi acusado de atacar 21 mulheres, assassinando dez delas e escondendo seus corpos no Parque do Estado, em São Paulo. A história do assassino e os detalhes da sua psicopatia são revelados por Elena (Giovanna Grigio), uma repórter iniciante que enxerga na investigação dos crimes cometidos pelo maníaco a grande chance de alavancar sua carreira. Enquanto Francisco segue vivendo livre e atacando mulheres, sua fama na mídia sensacionalista cresce vertiginosamente, gerando terror na capital paulista.
梅尔默一家的每个成员都在各自的问题中挣扎。谢尔哈特很难让贝谷姆适应他们的新生活。谢尔哈特的生活中少了一个女人,而加赞弗则努力维持家庭的和睦。
TRANSMITZVAH is a love story between siblings. They exhibit their wounds, exchange the pieces of each other’s puzzle, and complete (or start) the process of reaffirming their own identity. Rubén –the Singmans’ youngest son– challenges tradition by deciding to have a Bat Mitzvah instead of a Bar Mitzvah. Twenty years later, Rubén –now MUMY SINGER– returns to their hometown as a famous Yiddish singing star. After a sad event in the family, MUMY loses her voice and, with the help of her brother EDUARDO, tries to complete the path to adult life. A comedy with a jolly, playful, and musical dialogue about MUMY SINGER, and her trip to the past to make herself up, avoiding shortcuts and labels. The journey to who we really are can’t be avoided and must necessarily be taken.