备注:已完结
类型:剧情电影
主演:Eliza Sodró 索菲娅·绍莫希 Ern? Fekete 列文特
导演:克里斯托弗·迪克
语言:其它
年代:未知
简介:When Fuchs starts his new job as a teacher in a prison school, replacing the old and unconventional teacher Berger against her will, he is forced to confront his biggest fear, triggered by the mysterious, withdrawn inmate Samira.
备注:已完结
类型:剧情电影
主演:Pirkka-PekkaPetelius EskoSalminen 卡
导演:阿基·考里斯马基
语言:芬兰语
年代:未知
简介: 这是现代版的哈姆雷特复仇记充满了颠覆性,哈姆雷特的父亲是芬兰的企业家,妻子因为得不到家庭的温暖而与副总克劳斯偷情,为了一了百了协同情人谋杀了自己的丈夫,情人顺理成章和她结婚,然哈姆雷特之父阴魂不散,他希望儿子为他复仇,惩戒元凶,在父亲目光注视下,充满心计的的哈姆雷特开始了铲除异己,他首先除掉了自己恋人的父亲,为了私利而做克劳斯帮凶的恶人,可是同时他也失去了可爱的奥菲莉亚。为了占据整个企业,他先后杀了克劳斯以及奥菲莉亚的哥哥,正当他得意忘形的时候,惩罚正在慢慢向他靠近,影片里每个人都为自己的行为付出了代价…主演:Pirkka-PekkaPeteliusEskoSalminen卡蒂·奥廷宁,王子复仇新记电影高清在线观看、迅雷下载 王子复仇新记电影网友评论:< class="com">無產階級視角看待貴族亂象:開場綁在桌下、片末才又現身的狗,冷眼旁觀到「篡位」的僕人情侶、片尾造船工廠空鏡。幾場關鍵戲極爆笑!主角第一句台詞:Ham...letme!鬼魂顯靈。O helia浴缸自殺的塑膠小鴨。衣櫃偷聽被殺的Polonius,Akiland菸不離手最佳範例!母親嘴饞誤食毒雞,路邊的雞腿別亂啃。 < style="text-align:center;"> < class="com">阿基版哈姆雷特,带有强烈作者风格的改编和标志性黑色幽默情节的注入,不同于以往的表现手法(阴影烘托+局部特写),整体更似舞台剧,多处细节则颇具波兰斯基之风,营造出暴君统治下的不平衡感;再热忱的爱情在欲望统治下也不过是支离破碎的祭祀之物。前后上帝视角更显阴暗。亮点:蝴蝶标本;鸭子玩具。 < style="text-align:center;"> < class="com">套用莎氏建构又讲资产阶级内部斗争史,当时的阿基企图心强的可怕,玩的都是彻底的颠覆。倾斜构图和卡拉马利如出一辙,此片中更有意义。把自己最爱的工厂流水线画面从片头放到片尾,倒是有种大江东去的感觉。奥简宁的死是阿基电影中难见的浪漫主义。光冲radiohead就能打十颗星,尿差点喷出来。 < style="text-align:center;"> < class="com">哈姆雷特们伤不起!身心俱疲的现世悲悯+见山非山的古典映照。扣窗的父亲幻影。爵士摇滚配乐+倾斜构图。戏中戏:犹摄入铁青色的现实,而未采用古典构置。溺死于浴缸的奥菲莉亚+1。收音机套头。隐喻收尾:工业机器。|软弱的人是无法生存的。PS:私以为不熟络考里斯马基的人果断体味不出此间妙味。 < style="text-align:center;"> < class="com">富二代复仇,仆人翻身把歌唱。开篇各种冷萌,大半都在用现代工厂和生意经复刻王子复仇记的古典部分,从阴森豪宅到鬼魂极古典。母亲再婚时的倾斜镜头让我觉得事情要开始有点不对了,然而并没有。最后20分钟密度极高的神摄影、神展开应接不暇,收音机头笑炸,谋杀部分希区柯克既视感。三星半。 < style="text-align:center;"> < class="com">现代版的改编比我家EthanHawke那版还要现代。但总觉得演员不到位,最后结局的改编也不喜欢。英文名“HamletGoesBusiness”倒是点题。我总觉得每一版哈姆雷特里Ofelia的死都必须惊艳,KatiOutinen样子太老成,但死得足够美。 < style="text-align:center;"> < class="com">衣柜里还抽烟,难怪你被误杀;求爱信,你知道有多难写吗;失意者去酒吧,但我这阵子不喝酒;马蒂·佩龙帕闪现;你们多大了还玩儿小鸭子?几处冷幽默笑出眼泪,这很芬兰。收音机灌头,还不忘按播放键;说了这么多话,最后还不又是一男一女抱着大狗走了,这很阿基。 < class="com">这次是对莎翁的颠覆与解构,用哈姆雷特的戏剧结构揭露资产阶级的丑陋,王子最后居然被黑化。两处倾斜构图都很传神。已经太晚了;是因为太胖了吗?名副其实的收音机头。奥廷宁躺在浴缸中,上面飘着塑胶鸭子。live的质量一如既往的好。 < class="com">4.5哈姆雷特做生意。浴缸里沉睡的奥菲利亚,贪吃的格特鲁德,人头收音机,喂不饱空虚的哈姆雷特。机器机器机器。冰冷嘲讽和黑色幽默,从罪与罚到这部,阿基改编起名著来真是很有意思。KatiOutinen的奥菲利亚很加分 < class="com">书架上永远少一份阿基的OST。兜不住的资本主义批判倾向在片尾字幕的时候倾泻而出。这次的改变充满CAMP情怀。表现主义下的金属摇滚怀旧默片的爵士蓝调。小鸭子和小鸡腿。奥菲利亚自杀前的表演真美。 < class="com">前几天刚好看了苏联的版本,大气磅礴,也很写实。相比而言,阿基的这个版本则有趣得多,改成了现代工业版的王子复仇记,抽烟、喝酒、音乐很棒。。尤其是还完美诠释了什么叫做收音机头。。。。。。。 < class="com">阿基版哈姆雷特腹黑又寂寞,烟瘾当然也大得不得了;把镜头推向人脸,阿基这一部就开始用了(或许更早);台词这么多,不是他风格;拿录音机套头上再按播放……这操作台歹咧;灯光——马蒂·佩龙帕
备注:已完结
类型:剧情电影
导演:贾森·拉夫托波洛斯
语言:英语
年代:未知
简介: Se arated from his family and caught in a cycle of gambling and debt, Jim has less than a day to re ay a violent loan shark. His day is turned u side down when he must look after his young. Jim's relationshi with his son is tested as his lans to ay back the loan fail. When his last des erate effort to re ay the debt uts his son's life at risk, he must make a choice between his ast and a second chance at life
备注:已完结
类型:剧情电影
主演:SophieBolen MadelineVail ColbyFrenc
导演:TomSeidman
语言:英语
年代:未知
简介:《圣诞兔子》是讲述一个孤独的养子在平安夜的时候发现了一只受伤的兔子被遗弃在树林里住在旧谷仓旁边的一位夫人好心的收留了这只兔子,并治愈了它......
备注:已完结
类型:剧情电影
主演:路易斯·帕特里奇 乔莉·理查德森 瓦妮莎·雷德格雷夫 伊恩·格雷 朱利
语言:英语
年代:未知
简介:艾伦·伯斯汀、艾玛·汤普森将出演奇幻新片[迷失的女人](The Lost Girls,暂译)。本片改编自J·M·巴利的小说,瓦莱里奥·德·鲍里斯将自编自导自演这部电影。汤普森的女儿Gaia Wise也将出演本片。故事将讲述四代可爱的女性在与彼得·潘在梦幻岛的冒险经历后的挣扎,将聚焦温迪(德·鲍里斯饰)在与潘的奇幻之旅后,如何努力保持自己的创作精神。就像她的祖母(伯斯汀饰)和母亲简(汤普森饰)一样,温迪必须摆脱潘对她的控制,以及潘拼命想让她信守的承诺。当她的女儿贝瑞(Wise饰)进入潘的势力范围,温迪必须战斗,以挽救她与她的女儿的关系。
备注:已完结
类型:剧情电影
主演:卢卡·卡尔瓦尼 Johanna Taylor Yiannis Alex
语言:英语
年代:未知
简介:In a complex tale of interweaving relationships, a Greek immigrant in London explores the meaning of what it is to love and heal. Poised follows the story of Aris, a gay Occupational Therapist who carries the weight of a previous relationship gone wrong. Yet, a chance encounter with Richard seems to allow him the chance to love again. As Aris' relationship with Richard deepens, so too does his friendship with Anna, a patient in his care who suffers from a rare neurological syndrome that leaves her paralysed. Anna recovers the use of her limbs, but finds that she has come to rely on Aris for much more than just his support. In fact, her discovery that her husband has been unfaithful during her illness triggers the realisation that her feelings for Aris are romantic. The ties that bind emotion and propriety begin to unravel, and the tangled net that is woven will hold a secret that will catch them all.
备注:已完结
类型:剧情电影
主演:帕特·希利PatHealy 泰勒·罗斯 KellyO'Sullivan
导演:斯蒂芬·柯尼
语言:英语
年代:未知
简介: 导演:Ste henCon编剧:Ste henCone主演:帕特·希利PatHealy/泰勒·罗斯/KellyO‘Sullivan/ElizabethLaidlaw/JoeKeery/更多...类型:剧情/同性制片国家/地区:美国语言:英语上映日期:2015-05-07片长:87分钟又名:亨利·盖博的生日派对/亨利生日派對(港)IMDb链接:tt3703836派对十七岁的剧情简介······ 17岁的生日派对,24小时的人性大观,在热辣辣的派对,泳池见证了成长。Henry生日派对前一晚,好友Gabe来过夜,两人无所不谈,谈性说爱,Henry会否对Gabe动心?生日派对的早上,Henry的牧师爸爸开始煮早餐,妈妈开始预备,姐姐也回家参加派对。下午,包括爸爸的教会朋友、Henry的同学和教友,还有一直暗恋亨利的卢根等更多来宾,都齐集于泳池派对之中。入夜过后,这班青少年和各怀秘密的成年人,将要面对真正的自己。2011年香港同志影展参展作《孩子本色》导演再次探讨信仰和爱慾的关係,信者有冇得救? 派对十七岁电影网友评论:< class="com">一群宗教的信徒,却在自我内心的欲望中踟蹰不前。是遵守教义的规定,还是追逐自我的放纵?这是一个两难的问题。少年的成长就在于对世界与对自我的探索,何必为了所谓的条条框框而缩手缩脚地步步惊心。青春本该充满尝试和认知,休以上帝的名义掠夺欲望的支配。表面欢乐的 arty中,每个人都在隐藏自我 < style="text-align:center;"> < class="com">电影中的都是可怜人,用各种方式和所谓的信仰遮蔽自己的真实想法。我对宗教了解少之又少,敬佩信仰且誓死捍卫教义的信徒,至少那是忠诚的;可怜了解真相又不得不强迫自己去信仰的人。不评价任何种族,不评价任何取向,以不伤害别人为前提的自私都是值得尊重的。请善意地宽容对待世界,请自尊的活着。 < style="text-align:center;"> < class="com">光洁的肉体,年轻的容颜,自由的灵魂,青少年是世间最美的事物。然而宗教有的时候像一只手,牢牢扼住青春的喉咙。本片全面展现了宗教是怎样束缚这些青少年,让他们憎恶自己的身体,羞愧于性事,为性取向苦恼自残。基督教学校是怎样讲解物种起源的?不知道是否有人能巧妙得回答这个问题 < style="text-align:center;"> < class="com">非常漂亮的群戏,描述了虔诚宗教信仰束缚下的众生相,印象中外向开放的西方家庭在宗教面前也如同东方人一样小心含蓄地隐藏着真实的自我和情感,影片人物众多,关系复杂,且都各自怀揣心事,可惜导演对叙事处理稍显内敛,对男主心路的变化过程也缺乏必要的着墨。★★★☆ < style="text-align:center;"> < class="com">保守州的小镇上人们在宗教影响之下对于性和性取向的讳莫如深加之在一群孩子的身上营造出一种悲剧色彩...死去的牧师的孩子在浴室里割烂了自己的脸泳池边的保守大爷终于说管你是直是弯Lordmayyouthatway然而这样的为时已晚恰恰是最为悲剧的地方 < style="text-align:center;"> < class="com">全程尴尬,最他妈烦这种宗教跟鲜肉结合的电影,说也说不清,完全没心情去搞懂他们的鬼秘密,有些情节镜头莫名其妙,还有那个被关在厕所的男孩到底什么鬼,为什么要自残,每个人欲言又止,眼神恍惚,每个人都是傻逼。 < style="text-align:center;"> < class="com">开头挺美好的,后面的剧情就如同派对渐渐进入的客人越来越多一般乱糟糟的,最后渐渐展露跟宗教相关总是让人心声憎恶。如同用糟糕的镜头记录了一个糟糕透顶的 arty????whattheFuck,什么鬼。 < class="com">故事被打散成碎片,这样没有重点的叙事方式让我看得有点晕,而且还和宗教扯上关系,导演是想借机表达宗教对青少年性的压迫嘛?只能说青春的肉体还不错吧(那个长得还不错的骚年为何要自残?) < class="com">白瞎了男主一开场这么让人惊艳的颜,以为是大尺度青春片,结果导演扯一大堆点不到点上的乱七八糟,看的real心累,最瞎的还是跟暗恋他的黑小哥好了。。如果不是为了男主的颜两星我都不给 < class="com">线太多太杂,没有开始,结尾也很仓促,过程还不明朗,看的有些吃力,线埋太深了,有些线一目了然,有些线却云里雾里的。“耶稣教会我们爱每个人,不管他们是瘾君子或是罪犯还是同性戀” < class="com">3/5---青春期、性、愛情、欲望、信仰探討,一直都很有意思的課題.世俗以及信仰之間如何取得平衡?導演OST選的電子樂讓人歡喜,可惜畫面以及劇情過於零碎而成敗筆. < class="com">男主都没多少剧情,被支线冲得支离破碎,暗恋对象也没什么镜头莫名其妙打了一炮就回家了,黑人小哥长得像阿拉巴,Richie可怜。各种支线太乱,又是宗教害人剧
备注:已完结
类型:剧情电影
主演:萨姆·德·格拉斯 Francelia Billington 埃里克·冯
导演:埃里克·冯·施特罗海姆
语言:英语
年代:未知
简介: Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"? The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.