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石頭在大自然中充滿了無限的可能性，從沙粒到山脈，流淌在土地上，擁抱著世界上的一切。阿美族與土地有著深厚的聯繫，世世代代守護著它，與土地和諧共生。讓我們從另一個角度重新理解石頭，也重新理解阿美族那堅韌而柔軟的心靈。
Synopsis Alessandro Preziosi directs and stars in a new stage version of King Lear, in which the characters of the Shakespearian masterpiece move within sets entirely composed of works by the great artist from Biella Michelangelo Pistoletto. In this way, the interpretative space becomes a sort of gigantic and evocative mental labyrinth that permits the actor-director to further highlight both the intimate suffering of Lear and one of the tragedy’s most imporTant themes: the father-child relationship. COMMENTARY The documentary follows the rehearsals and staging of the play, and reflects not only on the creative process but also on the links, almost always insufficiently explored, between theatre and the visual arts. At the same time, it contemplates the meaning of memory, time and human frailty, and offers a very lucid look at the vulnerable nature of family relationships and the eternal conflict between generations. DIRECTOR'S STATEMENT Approximately 20 years ago, I was involved in a staging of King Lear directed by Antonio Calenda. It was a great opportunity for me to observe, from behind the scenes, the brilliance and clarity of both the actor Roberto Herlitzka and the play itself. From my vantage point, with an incredible and vast panorama before my eyes, I was struck by one particular aspect: the wait the characters experience in concluding their lives. The impatience that accompanies the wild sequence of events into which King Lear throws first himself and then those around him, gave me the idea of creating a mental space in the theatre and on stage, made reality by the stage design of Michelangelo Pistoletto.
Ciro and Marco, a few Euros, an old Beetle and a pinch of madness. A low-budget road movie, light-hearted and fun, into the heart of the popular and musical cinema of the city of Naples. From the pioneer Gustavo Lombardo to Elvira Notari. From Raffaele Viviani to the films of Natale Montillo. From Giacomo Rondinella to Mario Merola and Angela Luce. From Carmelo Zappulla to Pupella Maggio to the band Squallor. A journey into the memory of moments, some dramatic, of lives lived, which have given life to hilarious sketches. Ciro and Marco, in a trip around the craziest city in the world.
The documentary is a celebration of the long and glorious history of one of the most imporTant film production companies in Italy, with a focus on the different generations of the Lombardo family who, with passion and innovation, made and continue to make TiTanus a reference point for Italian and international cinema. The TiTanus adventure begins with the dawn of silent cinema, first in Naples, before transferring to Rome in the 1930s, where its production evolves with the advent of sound. A key moment for TiTanus is the launch of the career of legendary actor Totò, with the film Hands Off Me! The story continues with Gustavo’s son, Goffredo Lombardo, who in the 1950s and 1960s takes TiTanus to new heights, producing films of great artistic merit, such as The Leopard and Rocco and His Brothers, thereby consolidating the reputation of the company worldwide. Through exclusive interviews, the documentary explores the production of some of the best-loved films of all time, including The Professor, Bread, Love and Dreams and Two Women, for which Sophia Loren won the Oscar for Best Actress. The documentary is narrated by actress Valentina Corti, who takes us on a journey that is not only a celebration of the past but also a reflection on how TiTanus has been able to adapt to changes in the film industry while remaining faithful to its mission to produce cinema that is both artistic and popular.
What is the contemporary role of museums, institutions that often perpetuate representations of cultural authority? Are these public places complicit in maintaining unequal power relations and existing stereotypes? These are — among other things — the questions posed by Vanessa Wright, a film professor and director. Accompanied by a likable team of doubters, she embarks on a tour of museums and roadside stops in Alberta to film an existentialist documentary. A jazzy and poetic exploration of the Prairies' Far West, Alberta Number One thoughtfully questions cultural identity and its portrayal while offering an original meditation on grief. Funny, endearing, and very timely.
一面朽ち果てたひまわり畑、廃墟と化した公営住宅群–––。息を呑むような殺伐感が作品全体を覆う。互いが分身のような二人の女。カメラを持って彷徨し、一人は不可思議な事物や自分にカメラを向け、一人は黒いワンピースをさまざまな場所に吊るして撮る。日常的風景と非現実的風景が一瞬にして交差する“映画の魔術”に満ちた作品である。
故事紧接着上一部的时间线3年后，第一部的恶鬼力量虽然衰退但却在暗中等待着复苏的机会，很快一些系列的诡异事件开始发生，主角们开始意识到这一次的邪恶力量背后还有更复杂的秘密。
In 1904, there was a case that shook Switzerland: Frieda Keller was sentenced to death. A former victim of rape, the 25-year-old seamstress killed her son Ernstli, whose father was her attacker, and buried the five-year-old’s body in the forest. Shortly afterwards, the body was found, and the woman – a distraught mother, victim and perpetrator all at once – confessed to the crime. In addition to the authorities and her own family, the misogynistic laws of that time were also stacked against her. Despite fierce protests from the populace, Frieda was first sentenced to death at the end of a public trial in St Gall in front of hundreds of onlookers, and was subsequently “pardoned” with a life sentence in solitary confinement. Not only was the bigoted pardon a disgrace, but the fact that her rapist, the married man Carl Zimmerli, was never brought to justice was shameful. Indeed, the law at the time protected married men who assaulted women. The spectacular case raises the question of how much of a victim there is in the perpetrator. It significantly influenced debates on women's rights and a fairer society, as well as the development of the criminal justice system in Switzerland.
1993年前苏联解体，集体农庄走向瓦解，财产被分割和私有化。在哈萨克南部的一个集体农场，领导者巧取豪夺，早已侵占大量财产，更把大量羊群据为己有。勤勉的牧羊人亚伯一家一直生活在这片草原上，面对当权者的不公敢怒不敢言，连家园也面临被夺去。在大时代的变局下，小人物要如何安身立命？哈萨克新锐导演埃尔扎特·埃斯肯德尔的首部长片，以成熟的长镜头调度捕捉荒原上的冲突和怒火，回看哈萨克在独立后所经历的混乱时代。入围釜山国际电影节新浪潮竞赛单元。
Tango at Dawn tells the story of three women. Ji-won, who is clear-cut and straightforward, is hiding out and securing a job at a factory after being swindled by a friend; Ju-hui, Ji-won’s roommate, who is kind to everyone and always remains optimistic; and Han-byeol, who started working at a young age, became a team leader, and is quite selfish and irresponsible. One day, an accident happens to a fellow worker, and the reactions and solutions offered by these three women involved in the accident are remarkably different. The emotional tension arising from their differences, and the profound impact that transcends that tension, becomes increasingly powerful through the film’s multidimensional character development and subtle emotional buildup. Tango at Dawn poses careful questions about the failure and restoration of relationships, and serves as an intriguing example of personality and fate, ultimately becoming a poignant elegy for the loss of something precious and beautiful. (JUNG Hanseok)
Junyeong works part-time at a pub while also making a documentary about laid-off workers. She is losing her confidence, wondering if she is making a film that no one will see, let alone change the world. The simple, unadorned plot amplifies its relatability in this film about film.
At the KyrgyzsTan-KazakhsTan border, Aza and Samat work as members of a drug trafficking organization. One day, they run into Nazik, who has narrowly escaped from human traffickers. Aza decides to give up the drug money and save Nazik, but Nazik tragically dies while crossing a river. Aza is determined to at least return Nazik’s remains to her homeland, but his decision thrusts him into even greater danger. The border regions of Central Asian countries, that are located adjacent to AfghanisTan where massive amounts of drugs are produced, are hotspots for drug trafficking and organized crime. As those desperate for survival struggle to maintain a shred of dignity, the camera frequently pulls back to capture the vast and indifferent mountainous landscapes of the borderlands. The film is genre-driven but is also captivating with its restrained dialogue and composed visuals.
探空少年 (2024) 电影
1.0分 2054 年。地球正在窒息：由于环境问题，人口的平均年龄正在迅速下降。只有青少年才能拯救这一局面--他们是唯一有能力进入太空并找到一种独特物质来防止灾难发生的人。基里尔来自贫困社区，如果他不参加考察，就有可能被关进监狱。安雅是一位著名宇航员的女儿，她正拼命想弄明白父亲的死因。在13名敢死队员中，每个人都有自己的个人动机，最终只有6人能够进入机组。他们能否联合起来，找出过去发生了什么，并为自己和整个星球恢复未来？
15岁的米娅（凯蒂·贾维斯 Katie Jarvis 饰）性格叛逆而古怪，惹事生非的她不仅被学校开除而且连她最好的朋友都离她而去。米娅热爱跳舞，然而身边却似乎并没有多少人在意她那充满热情的舞步，直到一个叫康纳（迈克尔·法斯宾德 Michael Fassbender 饰）的男人出现。康纳是母亲的男朋友，在他与母亲同居的日子里，米娅被这个英俊而又友善的男人所吸引。在康纳的支持和鼓励下，米娅得到了一次舞蹈面试的机会，而且与康纳的关系也更进了一步。然而，现实世界并非想像的那样的美好…… 本片由在2006年凭借《红色之路》获得戛纳电影节评委会奖的英国新锐女导演安德里亚·阿诺德（Andrea Arnold）执导，是她的第二部电影长片。作为2009年戛纳电影节竞赛影片，《鱼缸》在2009年英国独立电影节获得8项提名。
Traditional Japanese cuisine, French cuisine and sushi. Through the beautiful seasons of Hokkaido, we follow the daily lives of four chefs who pursue their culinary arts, alongside the farmers, citizens and culture of Northern Japan.
离婚|Divorce (2024) 电影
8.0分 根据我国著名作家老舍的同名小说改编。三十年代初的北平，老李是财政所的二等科员，他为人诚实、腼腆而又爱幻想。但是他大学毕业后娶的媳妇却是一个没有文化的乡下姑娘，这使他非常郁闷。房东的儿媳妇马少奶奶娴美文静，却遭到了丈夫的遗弃。于是老李编织的爱情的梦幻就落在了马少奶奶身上。老李的妻子结识了正在闹离婚的吴太太和邱太太，三个女人在一起，经常交换整治丈夫的经验，越发变得庸俗不堪，令老李苦不堪言。忽然有一天，吴太太和邱太太相继妥协，放弃了离婚的要求，与丈夫和好。而马少奶奶的丈夫也回家了并与妻子言归于好。这些变化使老李非常吃惊。于是，梦醒之余，老李带着老婆，孩子回到了乡下。 ....
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