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In the most luxurious area on the Spanish sunny coast, Swedish real estate brokers earn millions by selling stunning homes to the rich and famous. The series revolves around Homerun Brokers and the firm's young agents as they navigate their personal and professional lives. In Marbella, it's a quick ride to the top, but the downfall can come sooner than expected.
艺人朴海美、黄星材、Zizo、申正允、INFINITE东雨确定出演《长大了还不出去》,公开了"袋鼠族"的真实日常生活。 将于10月1日首播的MBC every1新综艺节目《都长大了,还不出去》是最近因高物价和房价上涨,每2名青年中就有1名是"袋鼠族",通过和父母一起生活的明星们的日常生活,带来真实的笑容和共鸣的袋鼠族观察记。 不仅可以看到华丽明星们日常生活中的反转魅力,预计还会成为父母-子女全世代都能一起享受的综艺节目。 在这种情况下,19日《都长大了,还不出去》制作组公开了填满节目的演员阵容。 从"演员母子"朴海美X黄星材开始,出道14年的说唱歌手Zizo、拥有多彩魅力的演员申正允,还有组合INFINITE的主说唱兼伴舞东雨等,令人高兴的面孔提高了预备观众的期待感。 朴海美X黄星材展现了"气势强大"母子的样子。 通过之前公开的预告片,向传奇朴海美指责演技的黄成宰和向这样的儿子发送"XX家伙XX"的朴海美两人杀气腾腾的Tikitaka预告了。 朴海美X黄星材既是母子关系又是演员前后辈关系,因此将担任其他家人绝对看不到的独一无二的趣味。 Zizo通过《长大了还不出去》以"可怜的小袋鼠"时隔许久再次出现在综艺节目中。 代替拥有《Show Me The Money2》亚军头衔的实力派Rapper，虽然已经38岁了，但是因为收入微薄而不得不欠父母人情，这样的"可怜的小袋鼠"的样子让人心酸的同时也会引起观众们的共鸣。 申正允将通过《挨训的袋鼠》展现与电视剧中充满魅力的形象180度大转变的反转魅力。 担心健康的母亲和不担心健康的申正允吵吵闹闹的样子本身就预示着"令人抓狂的母子默契度" 最后INFINITE东雨继MBC《傻瓜的恋爱》之后时隔5年通过综艺节目与观众见面。 依然以全球人气而自豪的INFINITE的主要说唱歌手兼舞者东雨将展现作为不是华丽的偶像而是充满纯真美和呆萌美的张东雨的反转日常。 特别是出道后十几年间被诈骗的战绩非常华丽,刺激了预备观众死守直播的欲望。 继洪真京、HAHA、南昌熙3MC之后,朴海美X黄成宰、Zizo、申正允、INFINITE东雨等华丽阵容的袋鼠族观察记MBC Every1《长大了还不出去》将于10月1日晚8点30分首播。
After a young girl is found dead in a secluded religious mountain community, a pack of teenage girls decide to fight against the evil spirits they believe killed her by embracing their own dark nature.
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？
A man seeking death and a woman escaping life attempt to reconcile a decades-long cycle of vengeance with more violence, contrary to the cosmic plan.
In his 19th feature film, prolific Algerian movie maestro Merzak Allouache (Omar Gatlato; The Rooftops; Divine Wind, TiFF ’18) opts for a chaoTic family dramedy about feuding matriarchs behaving badly at the beach.
SinceBoong’s producTion, the ethnic tensions referenced in the film have erupted into violence, making Lakshmipriya Devi’s vibrant portrayal of childhood resilience a poignant and necessary reminder of our taken-for-granted ability to find hope even in the darkest and most unpleasant Times.
5.0分 西班牙/剧情片
Bernardo and Esperanza met in Bilbao in 1978, when both were students at university in the midst of the turbulent poliTical circumstances of the Time. They had an on-off relaTionship - brimming with passionate encounters and inexplicable misunderstandings - unTil in 2001, during a trip to Havana to visit the aunt and cousin she had never met, the two forever went their different ways.
Forty years after ETA kidnapped her family and the State tortured and murdered her father, Tamara Muruetagoiena throws herself into the indefaTigable search for the truth and jusTice, while personally telling us about her family tragedy: the revoluTionary tax, the fact of her 17-day kidnapping by ETA, her family's falling apart, the State harassment and the poliTical pressure they suffered, the trial, the arrest of her father and mother, the torture endured, the murder... but also her own path, that of knowing the truth and recognising it and of the use of dialogue as the principal means of resolving conflicts.
By means of a journey through the life of the filmmaker Benito Ansola and with the writer Miren Agur Meabe by our side, we will travel through the history of Basque cinema, from the germ of both Basque cinema and of films made in the Basque language unTil their present-day efflorescence. But Miren Agur Meabe won't be alone. On this voyage, we will have magnificent assistants. Myriad eminent Basque filmmakers who have played a lead part in and witnessed its evoluTion will tell us its story.
This is a film about empty spaces. On the one hand, the disappearance of Our Lady of Zikuñaga, a 13th century sculpture, serves to reflect on the importance that we give to images and on how we build these images in the collecTive memory. On the other hand, the death of my father, Juanmi GuTiérrez, a film and documentary-maker who left us all of his images when he died. Life gradually fills us with absences. Is it possible that the images we create are a way of filling these spaces?
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.
A car, music, two divorced 40-somethings bonking non-stop... What could possibly go wrong? Everything! Xabier and Miren are stuck fast to one another, turning a night that was shaping up to be great fun into a hellish experience for the couple, especially when their respecTive daughters arrive at the hospital.
The inTimacy of passing by. Heading home, to work, to see a friend, to buy dinner, or perhaps to the cinema. As the seasons change, we encounter fellow passengers along the way. They commute, sit, wait, get bored, maybe someTimes stare at their small screens more than through the windows – but they always reach their desTinaTion. Alongside them are kiosk vendors, vegetable and flower sellers, janitors, and drivers, whose daily rouTines complement the journeys of the travellers. Public transport stops become inTimate crossroads, offering us an unexpected, moving visual symphony of Riga neighbourhoods. Director Pakalniņa, along with her long-Time collaborator, cinematographer Gints Bērziņš, returns to RIGA IFF for the fourth Time – this Time capturing symbolic glimpses of Time in neighbourhoods like Zolitūde, Ziepniekkalns, Rumbula, Suži, Jugla, and Mežciems. The director says: “The ever-moving camera creates the form of the film, peering through the window of a bus, trolleybus, or tram, observing the world.” Shot in black-and-white and featuring everyday scenes, the film conTinues Pakalniņa’s signature “camera gaze” style. Alongside The Bus (2004) and Homes (2021), it forms an ornamental trilogy where public transport momentarily becomes shelter – a home among strangers – and draws a witty parallel to film theatre.
Traveling to visit Iceland’s melTing ice caps, Andri Snær Magnason considers the power of personal stories to help us hold the gravity of the climate crisis in ways data cannot.
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