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搜索"Uli",共搜索到"414"个相关内容,当前第“1”
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10.0分
意大利/纪录片
主演:
"JUliA MY DEAR! GIORGIO." So begin and end the letters that the famous director Giorgio Strehler wrote to actress GiUlia Lazzarini, before or after a performance. The last recommendations, the last nods of love and fear for his actors. Then GiUlia is left alone on stage, she and her characters. The film starts from this elective dialogue between the director and one of the most important actresses on the Italian scene. GiUlia is a woman of the theater. Theater is her life.   The film chronicles the behind-the-scenes ordeal of reading Strehler's letters, a powerful, neverbefore- used film material with which to make an intimate and profound portrait of her through the words of her master.   We enter GiUlia's house, for the first time, the laboratory space, where the actress prepares, where she gathers information, emotions and processes them. A house full of things from the past and present. The same one for more than forty years, in Milan.   Along with the letters GiUlia returns to bring to life fragments of memorable monologues referenced in the correspondence: Beckett, Shakespeare, Jouvet, Ginzburg, Brecht.   In her characters, GiUlia is able to embody all angles of human beings, from the kindest to the most violent. This makes her the actress capable of embodying Strehler's "theatrical humanism" and giving the audience, even today, an extraordinary stage essence.   From this interweaving of rehearsals, letters, and monologues, the script of the film is being created.   The house and together the Piccolo Teatro in Milan are populated with ghosts, pushing to come back to life with expressive force. Posters hang everywhere on the walls, the walls of the stage seem to come alive again, creating a film made of voices and evocative images.   Footage of rehearsals never seen before thus appears. An unseen treasure trove of how a character, a gesture, a word is built to reach the soul of the viewer. A fierce passion that grants no respite toward greatness. Lights and shadows. 'Theater is the parable of the world,' Strehler writes her. The story centers on this connection between art and life, in search of the secret of the craft of theater and its ability to represent the human being.   The film closes with a journey through the streets of Milan. We get lost in the urban night, in a din of sounds and silences. The sequence of the city's many theaters, emblems of its cultural life and creative fervor, accompanies us in this suspended and dreamlike 'road movie' in the night lights of the early hours of the day.
Born in 1986 in Magnitogorsk. He received a higher education as a process engineer. He studied to be a director at the Higher Courses of screenwriters and Directors (workshop of I.M. Kvirikadze and A.M. Dobrovolsky). He worked as a journalist in the publications "Bulletin of the film distributor" and "Variety Russia".
Milan, 2030; where only eight years earlier the independent global spy agency Citadel was wiped out by Manticore, the powerful enemy syndicate that manipulates the world from the shadows. Since then, Diana Cavalieri (who is an undercover Citadel agent) is alone, trapped behind enemy lines as a mole in Manticore. When Diana finally sees a way out and the chance to disappear forever, her only option is to trust the most unexpected ally, Edo Zani, heir of Manticore Italy, son to the head of the evil syndicate's Italian unit; who just so happens to be vying for Manticore's leadership against other European families.
YearoftheWidow|Rokvdovy (2024) 电影
2.0分
捷克,斯洛伐克,克罗/剧情片剧情
Year of the Widow. Stemming from a diary-esque article by Zuzana Pokorná, the narrative intimately charts her initial twelve months of widowhood.   The film traces the journey of Petra, thrust into an unanticipated world of grief following the sudden loss of her partner. More than grappling with her personal anxiety, she must contend with a labyrinth of bureaucratic hurdles reminiscent of a Kafkaesque nightmare. Presented from Petra’s perspective, the film explores the immediate emotional aftermath of loss, further complicated by the maze of social norms and legal proceedings she must traverse. Thus, the psychological drama morphs into a poignant societal commentary on grief, survival, and death in today’s world. The film captures the transformative narrative of a young widow reconstructing her life after the death of her partner and discovering newfound independence. “Our aspiration with Year of the Widow is to project a realistic yet suggestively portrayed story with a potent cathartic undertone on screen. It is about fresh starts, emancipation, and self-reliance. Further, it illustrates the importance of inner freedom and independence, which we need to find within ourselves before we can impart it to those we hold dear,” shares the director.
马克斯是一艘豪华游轮上的新任医生,这支医疗团队虽小但实力强大,距离海岸数英里,负责处理各种独特的医疗危机并相互帮助。
After achieving success in her younger years, the brilliant septuagenarian Madeline Matlock, played by Academy & Emmy Award Winner Kathy Bates, rejoins the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases and expose corruption from within. Inspired by the classic television series of the same name.
20世纪70年代,苏格兰警官豪伊( 爱德华·伍德华德 饰)收到一封信,信中称苏格兰西海岸的一个小岛——夏岛上的女孩罗恩·莫里森失踪已久,并向他求助破案。豪伊来到夏岛展开调查,发现岛上的氛围十分怪异。居民们先说不认识这个女孩,后又表示女孩已死。但豪伊没有找到女孩的尸体。失踪女孩的去向愈发不明。案件真相越来越扑朔迷离。豪伊又惊讶地发现岛上的居民是一群并不信仰耶稣基督的异教徒。夏岛勋爵(克里斯托弗·李 饰)更是似乎拥有极大的权力和声望。他们并不配合豪伊的调查。豪伊准备离开小岛时发现了小岛五月庆典中用活人来祭祀的传统,他准备一探究竟,然而他不知道危险正在向他靠近……
The film is inspired by the true-to-life story of the discovery of the long-lost “Opus 28” manuscript from Norwegian composer Johan Halvorsen, originally performed in 1909 by Canadian violinist Kathleen Parlow, to whom the piece was dedicated.   Campbell portrays a student who seeks to complete her thesis on Parlow by organizing a public performance of “Opus 28” from Toronto to Oslo. The cast includes Dueñas, Melanie Scheiner, Eve Duranceau, Maxim Gaudette, Rosa-Johan Uddoh, and Eileen Davies.
This film is a very personal account of moments lived by the director with her father. A personal account, yet told with the proper distance, in that cinema is ever-present between father and daughter: as a passion, a life choice, and a way of being in the world. Cinema as a web that underlies the story of their exchanges and creates a space for imagination. “With cinema,” the father says, “you can escape. With your own mind”. Images are sparked by memories and like memories amplify a few notable markers while erasing others. Spare images, where there is hardly anything other than the two of them, and the marker that is present always has something monstrous about it: large things are exceptionally large; distant things are incredibly far; sunbeams are ablaze; nearby things are much too close. As for the movie sets, however, everything is in excess: confusion, urgency, people, noise—and everything here is also amplified. In these sets is the thrill of communal life. The ones featured in the film are those of Pinocchio, built in the middle of nowhere in the barren countryside.
Gülizar, who lives in a Turkish border town, sets out to marry Emre, who lives in Kosovo. On the trip, she is molested by another passenger. During preparations for the wedding, Emre finds out that Gülizar is being abused by someone. Over the course of a week as they officially and traditionally get closer to each other, they try to find the abuser.
In a village in the Greek countryside, 55-year-old patriarch Takis (Akyllas Karazisis) and his long-suffering wife Eleni (Maria Kallimani) have been fighting with their loud-mouth neighbour, who is laying claim to part of the family’s land. As Takis prepares for the opening of his new butcher shop, decades of accumulated tensions between the two foes bubble to the surface. On one explosive night, the neighbour is killed by Takis’s only son Pavlos (Pavlos Iordanopoulos), a fumbling and hotheaded overgrown child. The only witness to this carnal crime is Christos (Kostas NikoUli), a handsome and hardworking young man from Albania, whom Takis has employed — and in many ways raised — since adolescence. The murderer and the eyewitness initially bury the evidence of the brutal act, but as rumours swirl and a killer must be named, the truth begins to take many forms. Soon, Takis must face the reality of choosing the fate of both young men.
《贪婪》和《难得幸福》的Steve Coogan确认出演BBC1台的剧情剧《清算》(The Reckoning),挑战一个充满争议的“丑闻型”故事。   这个项目从2020年10月确认开发时就曾经遭到质疑,但如今随着Steve将领衔主演的选角确认,该剧依然在轨道上保持运行。   剧集聚焦了Jimmy Savile的故事,作为初代唱片骑师、资深音乐节目主持的电视名人,Jimmy曾经享受了许多成就,也获得过大英帝国勋章的表彰;但在2011年于84岁去世之后,2012年一个纪录片展开的调查却揭开了更丑陋的事实:从上世纪六十年代起,他开始有对未成年人进行不当接触的行为。而BBC的默许以及彼时糟糕的业态文化,让他更加肆无忌惮,将魔爪伸向了更多的年轻女性,甚至是75岁的精神障碍患者;超过450人就其的行为展开了投诉与报告。而2016年的一次调查显示,有11位受害者甚至年...
更大,更好,甚至更布鲁斯。Vinnie和他的伙伴们将回归天空电视台的另一季原创喜剧。无论是偷马、借蜂箱、骗蛇还是盗用婚礼,对于游手好废的维尼(乔·吉尔根饰)和他的杂耍团伙来说,没有什么交易是太狡猾的。
青年vs政府 (2020) 电影
7.0分
美国/纪录片
主演:James Hansen Julia Olson
Directed by filmmaker and scientist Christi Cooper, YOUTH v. GOV is the story of America's youth taking on the world's most powerful government. In 2015, twenty one young plaintiffs, ages 8 to 19, filed the lawsuit JUliana vs. United States, asserting a willful violation of their constitutional rights in creating our climate crisis. If they're successful, they'll not only make ...
一位吝啬的罗马富商想方设法从教皇那儿获得贵族头衔,三个鬼魂登门造访,带他看清过去、现在与未来,让他领悟了人生的真谛。本片将英国文豪狄更斯的经典小说《圣诞颂歌》的故事背景转移到了19世纪的罗马,聚焦一个新兴资本家的传奇一生,去除了原著的圣诞节背景与极强的道德教化意义,将之与彼时教权衰微、资产阶级革命兴起的意大利社会现实紧密联系在一起。服化道真实还原了时代,复古气息浓厚,而凶杀等悬疑元素的加入更是让影片可看性十足。
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