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YouTube将打造[浮生一日]续集影片[浮生一日2020](LifeInADay2020，暂译)。凯文·麦克唐纳执导，雷德利·斯科特、KaiHsuing担任执行制片人。YouTube号召人们拍下7月25日的生活，并在8月2日前上传到相应的征集网站上。在征集结束后，30人组成的团队将对视频进行挑选与翻译。该片已直接入选2021年#圣丹斯电影节#。
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Ayoungwomansetsoutonacrimespreethatshebroadcastsonsocialmedia.
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BLAZEYOUOUTfocusesonayoungwoman'sjourneytofindhermissingsisterintheheartofabrutalunderworldcontrolledbytheherointrade.ThestorytakesplaceinthebeautifulEsperanzaValleyinNorthernNewMexico,abasinwhichbeliesanunderlingsickness,asinisterinsidiousspiritualdownfallcausedbydecadesofdruguse;buttheprotagonist'sjourneyintothisb...
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TheradicalhonestyofthebooksbyyoungadultfictionpioneerJudyBlumechangedthewaymillionsofreadersunderstoodthemselves,theirsexuality,andwhatitmeanttogrowup,butalsoledtocriticalbattlesagainstbookbanningandcensorship.源自：https://festival.sundance.org/program/film/638a1a91d406b20bd7f2d581
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When a young coffee shop owner is threatened with repossession she must take a chance with life and love as she fights to save her business
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比尔·杜克
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Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
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In late nineteenth-century America, Rising Free portrays the story of a young woman living in the aftermath of racial prejudice. Surrounded by danger of being sold and further stripped of freedom, she discovers hope th
