在一架小型飞机坠毁后,四名土著儿童在哥伦比亚亚马逊丛林中失联、孤立无援。他们依靠祖先的智慧求生,而一场史无前例的救援任务也随之展开。 这部纪录片由奥斯卡奖得主奥兰多·冯·爱因西德尔执导,哥伦比亚导演豪尔赫·杜兰和英国裔秘鲁导演拉利·霍顿参与制作,从参与这场史诗级救援行动的人员 — 哥伦比亚军队、土著志愿救援人员和儿童的家人 — 的视角讲述了这个令人难以置信的故事。
雷奈尔(赖尼尔·迪亚兹 Reinier Díaz 饰)有一大家子人需要靠他养活,然而,想要在这个残酷的世界中生存下去并非容易之事,无奈之下,雷奈尔只得成为了一名站街男妓,依靠出卖自己的肉体和青春获得短暂的温饱。 约斯瓦尼(米尔顿·加西亚 Milton García 饰)和妻子之间的感情并不融洽,与此同时,他亦是以放高利贷为生的岳父手下的一名打手,每天喊打喊杀的生活让约斯瓦尼疲惫不堪。一次偶然中,这两个性格地位截然不同的男人相遇了,命运让他们相遇,令他们相爱,在古巴热烈的阳光之下,两个男人陷入欲望的漩涡无法自拔。然而,属于他们的道路注定布满了荆棘,两人为了忠于内心的情感,皆付出了惨痛的代价。
亚当(马丁·巴赫 Martin Buch 饰)和妻子结婚多年,两人之间的感情早就已经被时间消磨的所剩无几。一天,亚当听闻了有一家换妻俱乐部,于是决定去探访一番,以找回往日的激情。在俱乐部里,亚当邂逅了名为派翠西亚(娜塔莉·玛杜诺 Natalie Madueño 饰)的美丽女子,被她迷得神魂颠倒。 派翠西亚和男友帕特里克(埃米尔·伯克·哈特曼 Emil Birk Hartmann 饰)一起来到俱乐部,两人为的就是寻求刺激。这一对俊男靓女自然受到俱乐部里其他成员的追捧,然而,帕翠西亚却发现,相比起女人,自己的男友似乎对男人更感兴趣。腰缠万贯的富豪杨恩(拉斯马斯·伯托夫特 Rasmus Botoft 饰)和太太也来到了俱乐部中,想不到这疯狂的举动却让他们找回了曾经的真心。
意大利米兰的瑞奇家族靠纺织业致富,在家长的寿宴上,爷爷将企业传给了儿子坦科雷德(加布里埃尔.费泽蒂 Gabriele Ferzetti 饰)和孙子爱德瓦多(弗拉维奥·帕伦蒂 Flavio Parenti 饰)。坦科雷德的俄国妻子艾玛(蒂尔达·斯维顿 Tilda Swin ton 饰)酷爱烹饪。在结识了儿子爱德瓦多的厨师朋友安东尼奥(爱德瓦多·加布瑞尔利尼 Edoardo Gabbriellini 饰)之后,艾玛被安东尼奥高超的烹饪手艺所吸引,情不自禁坠入爱河。不仅如此,艾玛还必须隐瞒她偶然发现女儿伊丽莎白(阿尔芭·洛尔瓦彻Alba Rohrwacher 饰)是同性恋的事实。与此同时,家族的事业也在变迁,尽管爱德瓦多独力反对出售家族企业,却还是无法抵挡资本全球化大潮的冲击,并购势在必行。在探讨商务的晚宴上,一个意外打破了艾玛苦心枯守的表面平静,她的灵魂就要破茧而出……
In a time now lost in the mists of memory, the great King Arthur rules in the legendary citadel that is Camelot. His Knights of the Round Table perform acts of derring-do and spend their spare time jousting, much to the delight of the local citizens and especially to Princess Ilene, a guest at Camelot. Watching her from afar is a young, inexperienced squire called Valiant, and when the young Welsh princess is sent home to marry Prince Arn, Valiant contrives to accompany her masquerading as Sir Gawain. Meanwhile, the evil sorceress Morgan le Fey, sister to King Arthur, has convinced the tyrannical Sligon, ruler of the Viking kingdom of Thule, that he should steal Arthur's sword, the powerful and magical Excalibur, knowing that its loss could bring about Arthur's downfall. So into the fray comes Sligon's unstable and psychotic brother Thagnar, who manages to steal the sword. Pandemonium reigns. But Valiant is having problems of his own - kidnappers attempt to steal away the Princess, and after various skirmishes, including one with a mysterious character who lives in a cave and purloins treasure, women and other things of value, Valiant manages to return the Princess to her homeland - although he also manages to have a duel with the Princess' jealous fiancé, Prince Arn. All things converge as Valiant is finally informed of his heritage by the stranger from the cave... Boltar of Thule. He informs the lad that he is Prince Valiant, rightful heir to the kingdom of Thule, and with his help, Valiant returns to the land of his birth to rightfully claim what is his.
Go Gorilla Go is probably most notable for its strange title, and this carries over into the film; as while it takes obvious inspiration from some big genre classics; the film features some strange plotting and a storyline that is a bit unusual on genre terms. Director Tonino Valerii previously directed the excellent but complicated Giallo My Dear Killer and clearly has a talent for delivering convoluted story lines as Go Gorilla Go features one too! The film focuses on Marco; an undercover police officer who is also working as a body guard for a shady underworld figure. He's also got a brother who is not exactly squeaky clean and has contacts with a few other 'Gorillas' who are in the same line as he is. It's not long before our hero gets involved in a kidnap plot along with his brother and his underworld boss and this plot is ran parallel with a load of others and the whole thing gets rather complicated. Luckily, however, it's all spun together with a whole load of action scenes; many of which are really well done. We've got the usual compliment of car chases and fist fights, but the main standout is a sequence that sees the lead character trapped in an elevator with the bottom taken out. The final car chase, which involves a train a la The French Connection, is also very well executed. The lead role is taken by Fabio Testi and the actor looks the part and plays it well. The rest of the cast is filled out mostly by lesser known Italian actors, but they get on well as an ensemble and bad dubbing aside, the film is above average in the acting department. The way that the story flows does get a bit too confusing at times as we constantly switch from one thing to another, but at least the proceedings are kept entertaining for most of the duration, before exploding in the final third. This film is not very well known and as such has become rather hard to come by. In the grand spectrum of Italian police films; this one is not one of the more important ones or one of the best, but for anyone that considers themselves a fan of this genre; Go Gorilla Go is certainly worth a look and comes recommended.
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.