Lore
搜索"Lore" ，找到 以下影视作品
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50年代-60年代初波兰电影学院派的经典作品之一，堪称与同时代意大利导演安东尼奥尼的《奇遇》相比，改编自Józef Hen在社会主义波兰时期被禁的小说。 In 1960 his second film NIKT NIE WOLA NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.
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琳达·门多萨
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马索·曼恩
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梅兰妮·利什曼
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亚历桑德拉·卡斯蒂略
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凯莉·罗兰
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罗宾·席德
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丹尼尔·马力克
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安妮·冈萨雷斯
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安德·雷特尔
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Chris·Kapeleris
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大卫·皮纳德
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Nck·Name
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卡洛斯·冈萨雷斯-维奥
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Elena·Khan
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Melissa·Bray
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Ava·Blackwood
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Connie·Manfredi
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Ronald·P·Boone·Jr.
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Cynthia·Menard
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Arabella·Williams
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Hannah·Yohannes
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Explorestheupsanddownsofmodernromance.
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安德丽亚·哈金
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Karla-Simone Spence
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约翰·艾伦·罗伯茨
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乔迪·梅
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Mina Andala
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Martin Fisher
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Mace Richards
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杰克·库兰
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大卫·巴克·琼斯
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Alison Martin Jones
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Itexploresthebeautifulandhauntingtaleaboutonewoman'sfighttotellherstory.
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NarratedbyQuannahChasinghorse,anadventurousjourneydowntheColoradoRiverthatexplorestheregion'sextraordinarywildlife,culturalhistory,anduncertainfuture.
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唐·迈克尔·保罗
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Major Ronan Jackson (Devon Sawa), an accomplished fighter pilot for the Israel Defense Forces and son of a U.S. Senator (Robert Patrick), is shot down while flying through Syrian airspace. After miraculously surviving the crash, Jackson is taken captive by a group of Hezbollah militiamen. A gripping and powerful story packed with hard-hitting action, Jarhead: Law of Return follows a squad of Marines, led by Sergeant Dave Flores (Amaury Nolasco), as they risk their own lives in the hopes of saving an ally they've never met.
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DidierKonings’simmeringmediaevalhorrorWitteWievenexplorestheconfluenceofreligionandpatriarchyinanexcessivelypuritanicalDutchvillage.Blamedbyhercommunityforbeingchildless,Friedaimmersesherselfinprayerandritual.Whenshereturnsunscathedfromtheforbiddenforestsurroundingthevillage,havingevadedalecherousbutcher,sheiscondemnedasanagentofthedevil.Frieda,however,findsnewfaithinthedarkpowersthatinhabitthewoods.Shotinareducedcolourpaletteattheedgeofvisibility,Konings’grippingfilmconstructsaconvincingpre-modernsocietywhosepracticesitelucidateswithpatienceandattention.AlthoughsetintheMiddleAges,WitteWievendisplaysanunmistakablycontemporaryspirit,craftingafeministparableaboutwomendiscoveringnewwaysofunderstandingtheirlivesandtheworld.
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由Mitchell Altieri跟Phil Flores执导的吸血鬼片子「汤普森一家」（The Thompsons）是2007年恐惧片「汉密尔顿一家」（The Hamiltons）的续集,也被称为「汤普森：汉密尔顿2」,由原班人马拍摄跟上演。 在续会合,由于加油站受到血洗厮杀,这家人不得不避祸到英国,而且换了个新身份,成了“汤普森一家”。他们异常盼望掉掉落这个生疏国度的掩护,因而他们深刻暗中的地下寻觅传说中的吸血鬼··· 差其余都会,差其余称号,统一个家庭,更大的疑问。
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Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
