搜索"Macho"，共搜索到"9"个相关内容，当前第“1”页
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L'artd'êtreheureux|Del'artouduMachond? (2024) 电影
2.0分 Stefan Liberski turns to the world of art, its big concepts and disappointments, but also its enthusiasms and beauty. The film paints the portrait of Yves Machond who, at 55, still feels he has a piece of art to offer the world. He leaves Brussels and his job as a professor to move to Étretat, the land of Impressionism, hoping to get inspired. This comedy shows the difficult coming into being of his project and the metamorphosis of the hero. It’s an adventure with unexpected turns, where Machond will learn that life and art are not just ideas. Not only. Not yet
A young Latina petty thief driving through New Mexico finds herself the target of a psychopathic, small town sheriff who views his badge as a license to prey on vulnerable young women. She must use all of her street-smarts to survive.
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).
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。
When a young woman and her rideshare driver break down on a dark forest road, each sees the other as a threat. A strange phenomena begin occurring around them, they gradually realize they’ve become trapped in the world of a terrifying supernatural being The Toll Man.
A rookie drag queen, reeling from a break-up, escapes to the country, where he finds his grandmother in steep decline yet desperate to avoid the local nursing home.
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