家庭放縱
影片中講述的是一個13歲的懵懂小男孩在一個特殊的家庭和他的祖父和叔叔生活在一起,還有家里的兩個女傭人。小男孩愛上了其中之一
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紐倫堡的審判
斯賓塞·屈塞,伯特·蘭卡斯特,理查德·威德馬克,瑪琳·黛德麗,馬克西米連·謝爾,朱迪·加蘭,蒙哥馬利·克利夫特,維爾納·克倫佩雷爾與世隔絕
Davina Reeves,Maria Abramova一條道走到黑
甄偉,石峰,陸明明,古麗米熱艾尼瓦爾,禹帆,德吉次仁,李書雅,蔣雯旭,米熱,于山川立體聲
于爾根·福格爾,莫里茲·布雷多,佩特拉·施密特-夏勒,格奧爾格·弗里德里希,賴納·博克大明嬪妃之殺機
朱一龍,何杜娟,關(guān)慧卿,陳思璇可憐的東西
艾瑪·斯通,馬克·魯法洛,威廉·達福,拉米·尤素夫,克里斯托弗·阿波特,蘇西·本巴,杰洛德·卡爾邁克,凱瑟琳·亨特,薇琪·佩珀代因,瑪格麗特·庫里,漢娜·許古拉,杰克·巴頓,查理·希斯科克,阿提拉·多拜,艾瑪·欣德爾,安德斯·奧洛夫·格倫德伯格,艾提拉·凱科斯克麥西,朱西馬爾·巴爾博薩,卡米尼奧,安杰拉·保拉·史丹德爾,古斯塔沃·戈麥斯,凱特·漢福德,歐文·古德,茲恩·約書亞·泊松,薇薇安·索恩,杰爾斯金·芬德里克斯同類推薦
左撇子女孩
蔡淑臻,馬士媛,葉子綺,黃鐙輝,陳慕義,張允曦,趙心妍,夏騰宏,林嫣一位單親母親帶著兩個女兒在鄉(xiāng)下生活數(shù)年后重返臺北,在熱鬧的夜市擺起小吃攤。面對新環(huán)境,三人以各自的方式努力適應(yīng),既要維持生計又要守護家庭完整。當傳統(tǒng)觀念根深蒂固的外祖父禁止左撇子小孫女使用"惡魔之手"后,這個三代同堂家庭深埋的秘密開始逐漸浮出水面。
死星
Yoon C. Joyce,Diandra Elettra Moscogiuri,Margherita Scotti,Olga Egorova,Ivan King,Gloria Capelli,Maria Arismendi,Giorgio Consoli,Noemi Marotta,Francesco TinelliClaudio Nervi, an eclectic director, and Lucia Neve, a disillusioned producer, are looking for a new actress who could help them with their latest feature film, a project that is undoubtedly adrift. During a meeting with one of the most promising candidates, Stella, the girl will reveal them that the script of the movie is pretty similar to a story she knows well: the story of how she died.
單獨之戀
凱文·詹姆斯,喬納森·魯米,金·寇茲,艾莉森·漢尼根,朱莉·安·埃默里,妮可·吉瑪多,茱莉·塞爾達,朱莉婭·梅西娜Matt's fiance leaves him at the altar. Heartbroken, he goes on their planned Italian honeymoon alone. There he rediscovers his zest for life, food, and meets Gia who helps him find love again.
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
諾瑪·蕾
莎莉·菲爾德,博·布里奇斯,羅恩·雷布曼,帕特·亨格爾,芭芭拉·巴斯里,蓋爾·斯特里克蘭德,摩根·保羅,羅伯特·布羅伊爾斯,John Calvin,布思·科爾曼,李·德布魯,詹姆斯·路易西,Vernon Weddle,吉爾伯特·格林,鮑勃·米諾故事發(fā)生在一個南部小鎮(zhèn)的棉織廠,諾瑪(莎莉·菲爾德 Sally Field 飾)和她的家人都在這里工作。這個工廠的工作環(huán)境異常惡劣,工人們每天都經(jīng)受著資本家的無情剝削和艱辛勞動。面對這種不公平的待遇,工人們備受壓迫和困擾。為了改變這種狀況,總工會派來了一名經(jīng)驗豐富的組織者,希望能夠協(xié)助當?shù)毓と私M織自己的工會,為工人們爭取更好的待遇和權(quán)益。然而,工人們對組織者的到來持有懷疑態(tài)度,他們心存疑慮,擔心這只是一個無望的嘗試。組織者面臨著許多困難和挑戰(zhàn)。工人們對他進行冷嘲熱諷,老板則用各種無理阻攔來阻礙工會的成立。看到這一切,諾瑪內(nèi)心充滿了憤慨和不滿。她是一個有著堅強意志的女性,對不合理的事物總是敢于挑戰(zhàn)。受到組織者的激勵和影響,諾瑪最終選擇站出來,成為了改變的先鋒。