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L’arte di Mario Merola è stata multimediale: canzone, teatro, cinema. Ma è soprattutto alla sceneggiata che ha legato la sua fama e la sua grandezza: un teatro dei poveri, un’arte popolare che Merola affrontava con un’adesione e un’autorevolezza totale. Solo negli anni Settanta intellettuali come Goffredo Fofi (qui intervistato insieme a tanti altri: da Nino D’Angelo a Maurizio de Giovanni, da Marisa Laurito a Valerio Caprara) si accorsero di lui: ma non per fare un esercizio di rivalutazione camp, dall’alto. Perché per capire Merola, le sue radici in una cultura e società, secolare, occorre entrare nel suo mondo. Questo fa il documentario biografico di Ferrari, dando comunque spazio anche a operazioni imprevedibili come Westmoreland Naples di Marcello Garofalo, in cui Merola affrontò il mondo di Jean Vigo, Fassbinder e Allen Ginsberg: come sempre, con una credibilità e un’umiltà straorDinarie.
A painter sees the silhouette of a man appear in the distance. Intrigued, she decides to follow him, but the man disappeared. Flirting with the absurd, the film explores our difficulties in seeing and representing in a world where reality seems increasingly elusive.
Three siblings and their mother try to rebuild their lives after the unexpected death of their father. The eldest sister Ola returns to her family home from Warsaw after a two-year absence. She discovers that the house is up for sale, and a stranger is sleeping in her mother's bed. Her family seem to have moved on with their lives, and Ola's stay at home is not welcome. While packing for the move, Ola finds family video tapes. Along with her siblings – younger brother Pipek and youngest sister Ajka – they decide to recreate their childhood photos. Ola strives to bring the three of them closer and reconnect the broken family bonds. Before that happens, recalling painful memories will cause the siblings to clash even more. Ola realises that each of them is dealing with trauma in their own way – alone and unable to cope. By confronting her family, she manages to break the tension that has been lingering in the air.
日頃スポットライトの当たらない建物の"解体"。その現場では速やかに更地に戻すことが常識とされる。そこに持田敦子の"アート"が、「豊かな解体」を掲げて別の時間軸・価値で介入していく。その行為が解体業者など、現場や周囲の人々を触発していく様子をインタビューや取材を通し丁寧に捉え、"アートと社会の結節点"が描出されていくドキュメンタリー。
丧尸病毒爆发已经五年了，人们渐渐觉得丧尸的威胁开始减弱。R-Division部队里的男人和女人们，发现了丧尸病毒二次爆发的迹象。如果这种情况真的发生，那么人类可能面临无法生存的境地。Because this project is categorized as being in production, the data is subject to change; some data could be removed completely.
When her father and uncles die, Jone (Josemi's daughter) decides to make a documentary about the Ibarretxe Brothers. Pioneers in the Basque audiovisual sector, creative, cheeky and always up to something, they were devoted to cinema made in Euskadi long before it was a reality. Analysing their films and talking to people who accompanied them (Stephen Fry, Echanove, Ramon Barea, Santiago Segura, José Luis ReborDinos), Jone gradually comes to realise that their cinema is nothing more than a faithful reflection of their own selves.
»Let me know if you love me«: Charly Hübner looks at the past and present of the band Element of Crime. Since their formation in 1985, Element of Crime have been a constant in the German musical firmament. They’re seen as the best-known unknown or the least-known well-known band in the German-speaking world. What sort of people are they? How did they become what they are? Director Charly Hübner follows the four musicians on a tour of Berlin, specially put together for the film – to places that represent particular waystations in the band’s development. Never nostalgic, never »the good old days«. Element of Crime are far too alive for that.
The Diner is ready, the table is set. The menu includes sacrifice, irreverence, obedience, boredom, piousness, joy, bafflement, and maybe each other; enjoy!
A sequel to the 2020 award-winning documentary “Escape from Extinction”, the film will explore how “rewilDing” — a conservation approach that aims to restore natural processes and increase biodiversity by reducing human influence on ecosystems — will ensure that conservation efforts are effective and sustainable.
오랫동안 사람이 거주하지 않은 빈집에 유리관이 씌워진 나무 박스들이 놓여 있다. 장면은 흡사 고립된 미술관, 자원이 고갈된 근미래, 내부 공사 중인 사가처럼 보이기도 한다. 박스 위의 과실이 썩어가는 과정을 담은 장면에 구상도를 연구하는 일본인과 주고받은 서신이 갈마든다.
5.0分 台湾,法国/动作片动作
美国缉毒局探员约翰（卢克·伊万斯 Luke Evans 饰），不仅是超强工作狂，更会牺牲一切、不择手段，只为顺利完成案件。不巧，在命运的捉弄下，他与思维敏捷又难以追捕的顶级“车手”乔伊（桂纶镁 饰）坠入爱河，最后却卷入犯罪阴谋当中，迫使两人分开。没想到15年过去，约翰为了缉捕贩毒集团首脑关（姜成镐 饰）来到台北，原本预计停留一个周末的时间，但仿佛命运再度出手搅和，让他与乔伊奇迹般地重逢，更发现她已经有个儿子雷蒙（杨明伟 饰）。此时，关的威胁伴随而来，让三人不得不携手迎战！
The Weeknd于2024年7月18日宣布2024年9月7日在巴西圣保罗莫伦比斯体育场举办一次演出并全程直播。
Kristina Grozeva and Petar Valchanov’s Triumph — combined with their previous films The Lesson (TIFF ’14) and Glory (2016) — forms a trilogy inspired by sensationalist news stories from their Bulgarian homeland that prove once and for all that truth is stranger than fiction.
떠돌이 집시 배이비(25/여)는 새로 이사 온 맨션아파트의 옆집에 자신을 ‘예수’라고 소개하는 이웃, 예수(33/남)와 만나 친구가 된다. 그러던 어느 날, 이비의 실수로 비밀 국가 요원들이 예수를 잡으러 오는 것을 알게 되자, 하나뿐인 친구를 지키기 위한 결투를 벌이게 되는데... 과연 이비는 친구 예수와 맨션아파트를 무사히 지킬 수 있을까?
![巴黎烟云HeadintheClouds[电影解说]](https://ps.ssl.qhimg.com/t020e0f5e07bcf36719.jpg)
1933年的一个雨夜，英国剑桥大学的一名一年级学生盖伊（斯图尔特·汤森德 Stuart Townsend 饰）的寝室里，突然闯入了一位美艳动人的女子吉尔达（查理兹·塞隆 Charlize Theron 饰），盖伊好心收留她过夜，而后两人迅速坠入爱河。几年后，吉尔达成为了一名时尚摄影师，邀请盖伊前去她巴黎的豪宅相聚，并与她的模特兼密友米娅（佩妮洛普·克鲁兹 Penélope Cruz 饰）三人一起享受着时髦与欢乐的时光。然而，就在吉尔达的事业如日中天之时，第二次世界大战爆发了，三个好朋友因对于此持不同看法而分道扬镳，盖伊和米娅决定去往前线支援，而吉尔达则留了下来。6年的抗战之后，盖伊回到了日思夜想的巴黎，得知爱人吉尔达已成为千夫所指的德国军官情妇，却不知她其实是一名地下间谍。而此时的吉尔达已面临生死关头，一方面，她的间谍身份行将暴露，另一方面，巴黎的民众恨不得杀她而后快，两个有情人的命运还能否相交…… 本片曾获2005年米兰国际电影节最佳影片奖。
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