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What happens after years of making documentaries? For Christina Vandekerckhove, who made waves in 2017 with Rabot, a powerful documentary about the last residents of three social housing towers, the answer is that certain real-life encounters, situations, and people linger in your mind. "They became the spark for MIlano," Vandekerckhove admitted in 2023. "The rest is imagination." In her fiction debut - though her award-winning short films Mia and Stella were early steps in this direction - the Ghent filmmaker focuses on Alain (played by Matteo Simoni), a single father raising his deaf son MIlano (newcomer Basil Wheatley) in a social housing neighborhood. As Alain strives to create a better life for his 11-year-old son, their relationship is strained when MIlano expresses a desire to meet his biological mother and finds support in a wealthy neighbor. MIlano is an emotional and poetic exploration of parenthood and friendship, blending the rawness of reality with the sensitivity of fiction.
FreiheitimHerzen-Lasstesunseilighaben,menschlichzusein|Soulsunshackled-Letusbeinahurrytobehuman (2024) 电影
10.0分 德国,伊朗/纪录片
Woman, life, freedom! After the death of a young Iranian woman in Teheran, thousands take to the streets – in Germany too. Portrait of a protest which brought different generations together. On 13th September 2022, Jina Mahsa Amini was arrested by the Iranian vice squad because she was wearing her headscarf wrongly. Three days later, she died in custody. Her death set off a howl of protest all over the world. Many exiled Iranians, who fled the new regime in Tehran in the 1970s, protested – but also 2nd generation German-Iranians like Jasmin Shakeri, Pegah Ferydoni, Natalie Amiri and Enissa Amani. Together they took to the streets to help the old country find freedom.
制片人阿方索（Adam Huss 饰）带着摄制组前往墨西哥的卡巴•圣卢卡斯，准备拍摄一部低成本的色情影片。但是他们的车在沙漠中迷路，汽油也消耗殆尽。在当地人的指引下，他们向最近的加油站前进，但同时也得到一个建议，那就是“绕开恐怖的神血镇”。 当地有一个传说，曾经墨西哥最棒的摔角手“面具人”（Rey Misterio Sr. 饰）比赛中精神失常，杀掉了对手。随后他被囚禁在神血镇，而每当发现有人靠近时，他就会按照墨西哥摔角的规矩，揭掉对手的面具——也就是人脸！ 不怕死的剧组，终于走进了禁闭的神血镇……
This is a very bizarre fairy tale. It commences with a wedding and singing and dancing but nearly the whole village is wiped out by wolves. The bride gives birth to a daughter several months later and promises her to the boy who saved her. Ten years later there is another disruption when Some circus folk come by and the villagers trick them into staying. Tragedy ensues... This has a strange cast, dwarfs, giants, priests and occasional intrusions from the modern world in the form of the police and a wonderer who returns bringing to the village the good news of Nostradamus. It is a long film but it honestly does not drag. and if you get bored of the plot you can always look at the sumptuous Countryside.
The goal with CLOWNADO is to make a damned good, scary and splatter-filled, nonstop roller coaster ride of a Horror movie. It's something new, fresh, original and unique but also familiar. Using only Practical Special Makeup Effects and old school styled Visual Effects, CLOWNADO has the vibe of Classic Horror movies we love. Think Evil Dead, Dead Alive, Bad Taste and Texas Chainsaw Massacre if Lucio Fulci was directing, all mixed in a swirling storm of insanity. Now add in scary supernatural Clowns and the cinematic visual style known as FILM NOIR. - intense composition with shadow and light. - and a bit of that incredible John Carpenter suspense (John was also influenced by Noir classics). - and you have an Ambitious, Over the Top Gorefest Epic!. Don't judge a book by it's cover - This is certainly no comedy.
After attempting to trick someone already down on their luck in order to win a workplace competition, a telemarketer with the gift of gab will find out whether he can talk his way out of a hostage situation where his own life is on the line.
一球定江山 (2012) 电影
7.0分 故事发生在1941年的马其顿，前途无量的足球运动员考斯塔（萨斯科·科切夫 Sasko Kocev 饰）邂逅了美丽的富家千金瑞贝卡（卡塔瑞娜·艾娃诺夫斯卡 Katarina Ivanovska 饰），相互吸引的两人很快就走到了一起。然而，这段感情却遭到了瑞贝卡家人的强烈反对，不顾家人的阻挠，瑞贝卡毅然决然的离开了家庭的庇护，嫁给了考斯塔。 考斯塔所效力的球队背负着整个国家的希冀，每一位马其顿人民都希望球队能够在接下来的比赛中夺得头筹。为了增强球队的实力，经理请来了著名教练鲁道夫（理查德·塞梅尔 Richard Sammel 饰）。没过多久，战争爆发了，纳粹占领了马其顿，鲁道夫所带领的球队不仅仅要对抗强大的对手，还要抵挡纳粹的残暴统治。
一位身败名裂的联邦调查局探员，被停职，在失去母亲的痛苦中挣扎，来到了她小时候常去的小山村。她得到了一个特殊需要的男孩的朋友，他拥有非凡的天赋，通过他坚不可摧的精神和独特的人生观治愈他人。虽然她很受伤，但她开始透过他的眼睛看到拼图的碎片。
缪斯迫切希望加入臭名昭著的巴尔的摩越野车骑士The Midnight Clique，他们统治着夏季街头。 当午夜的领袖布拉克斯将14岁的缪斯带到他身边时，缪斯很快就发现自己在狭窄的道路和充斥着快速的金钱和暴力的道路之间挣扎。
Aspiring actress, Kia Anderson, is about to learn that the final callback for a horror Feature Film is something more than she could ever of imagined - Something sinister is awaiting for Kia.
Here we go again! Not only is it time for 20 fresh episodes of soul-pummelling, mind-blowing, award-winning stop-motion sketch comedy funnedlled from the colono of the ADULT SWIM late-night hypno-hellacious sock hop, it's also time for more words on the back of the DVD describing the contents within! Words words words words! in the industry, we call it ' Box copy' ! YEAH BABY - BOX COPY STRAIGHT UP YOUR ASS!
In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil. The Devil's Trap is a film directed by František Vláil, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vláil made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968). Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace. As expected from Vláil, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery. Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door. The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more. Acting is great all around. Particularly the villains Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village. The film also features the evocative music of Zdenk Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vláil, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act. The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vláil's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.
An imprisoned criminal rats out his former boss for one last chance to reunite his family and become the father he never was.
Someone downloads an app on your phone behind your back. It looks like an augmented reality game, but soon you realize it's an app that connects to the world of the dead, which allows you to see the dead through the camera of the phone. On the screen you see a countdown timer starting from 24 hours and before it reaches zero, you have to download the app to someone else's phone to earn 24 more hours. And you must do it every single day. What would you do Would you continue passing this curse and condemning other people
与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
An amiable picture about entering adulthood, great dreams, and the first - forbidden - love of a white postman, Jakub, and a pretty Gypsy girl, Jolanka. This is a poetic story, a mosaic of the playful world springing from the wild imagination of the village postman and its clash with the pragmatic mundane reality that finally beats the rosy dream's of the young protagonists. Director Dusan Hanak and screenwriter Dusan Dusek's most popular film has been cherished by critics as well as wide audiences at home arid abroad.
被涂污的鸟 (2019) 电影
5.0分 影片以一个小男孩的视角描写了东欧“二战”期间的悲惨景象。小男孩的父母把他送到乡下避难，但与他失去了联系。男孩开始在各个村庄之间流浪。因为他的黑头发、黑眼睛，村民认为他是吉卜赛人，会给村子带来不祥，以各种方式折磨他。他曾被埋在土里，只有脑袋露在外面，乌鸦将他啄得伤痕累累。他目睹人们在暴力、堕落和无知的牢固链环中彼此吞噬。当他躺在铁轨上，让火车从自己身上呼啸而过，他体会到的只有饱受凌辱却依然幸存的快乐。影片在黑白光影下呈现出绝美的视觉质感，一出战争浮生录在魔幻的视角下就此展开。
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