Raoul
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米夏埃尔·艾斯
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Paris,1981.ThewindsofchangeareblowingonelectionnightandtheFrenchstormthestreets,elated.ButÉlisabeth(CharlotteGainsbourg)strugglestosharethegeneralmoodofoptimism.Hermarriageiscomingtoanendandshewillnowhavetosupportherfamily.Sheisdistraught,andherfatherandteenagechildrenareworriedthathertearssimplywillnotdry.Butwhatiflisteningtoheremotionscouldhelphertostartfillingtheblankpageofherfuture?Whatifsheweretowritealetteronawhimtothehostofherfavouriteradioprogramme?Orinviteahomelessgirlintoherhouse?Whatwouldhappenifsheweretomakethekindofgesturesthatactuallychangelives?Inthisfollow-uptothebeautifulAmanda,MikhaëlHersdirectshishypersensitivegazeatthe1980sandtheseeminglymundanemomentsinonefamily’slifethatshapeindeliblememories.Alargenumberofcharacterspopulatesthisnostalgicsagaofself-invention.Thedirectorhonourstheirvulnerabilityandkindnessinawaythatstandsoutinacinematiclandscapemoreoftenfascinatedbydisillusionedantiheroes.Thisisfilmatitsmostprofoundlyintimateandmesmerising,thekindthat,whenwereflectonhowwefunctionasasociety,givesusanideaofwhylovematters.
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Saturday Night Live aired its thirty-third season, during the 2007–2008 television season on NBC.
Because of the 2007–08 Writers Guild of America strike, there were only 12 episodes produced in this season instead of the usual 20 (with 4 consecutive episodes made between February 23 and March 15), making this the shortest season in the series run and beating out both the sixth (1980–1981) season and the thirteenth (1987–1988) season, which had thirteen episodes. This is also the only season in SNL history not to have a new Christmas episode, since the WGA strike spanned from November 2007 to February 2008.
No changes to the cast happened over the summer and everyone from last season returned. During the strike, long-time castmember Maya Rudolph left the show, as she had no contract with SNL that year. Casey Wilson, an actress and writer who frequently performs at the Upright Citizens Brigade Theater, was hired in January 2008 to fill the void, but due to the strike, did not appear on the show until they returned on February 23, 2008.
On November 5, 2007, after the episode hosted by Brian Williams, the Writers Guild of America went on strike. It was announced that SNL would air its next episode on November 10, 2007 (with host The Rock and musical guest Amy Winehouse), live on air, with a future episode to follow, featuring Jonah Hill and musical guest Kid Rock. However, on November 7, 2007, SNL's official website confirmed that those episodes were canceled and reruns would be seen beginning November 10, and would continue during the duration of the strike. The Rock/Winehouse show was canceled, along with the Jonah Hill/Kid Rock episode (though Jonah Hill would get a second opportunity, when he hosted the March 15 episode, with musical guest Mariah Carey [filling in for a flu-stricken Janet Jackson] and The Rock would host next season, with musical guest Ray LaMontagne. Amy Winehouse would never get the chance to be a musical guest, host, or even cameo due to her death in 2011).
During the strike on November 17, 2007, the cast of the show, along with host Michael Cera and musical guest Yo La Tengo performed an "episode" of the show entitled Saturday Night Live - On Strike! at the Upright Citizens Brigade Theatre (co-founded by cast member Amy Poehler) in New York City. Every cast member except for Maya Rudolph appeared, with former cast members Horatio Sanz and Rachel Dratch and musician Norah Jones making cameo appearances.[1]
On February 12, 2008, the strike was announced to be officially over with a 92.5% vote. Production continued on February 18, 2008 for the February 23, 2008 episode, hosted by former SNL cast member Tina Fey with musical guest Carrie Underwood.
This season also saw the death of the show's very first host: edian/actor George Carlin. A scheduled rerun of the episode hosted by Ellen Page was replaced with a rerun of the show's very first episode, which had Carlin as host and Janis Ian and Billy Preston as musical guests.
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Aromanticadventurewithanintriguingblendofmodernandclassictouches,THERENDEZVOUSthrowstogetherRACHEL,aJewish-AmericandoctorandJAKE,anArab-Americangovernmentbureaucrat,whoaretryingtosolvethemysteriousdeathofRachelstreasurehuntingbrother.Racingaroundtheworld,theyfindthemselvesbeinghuntedbyadoomsdaygroupcallingthemselvestheArmageddoniteswhobelieveRachelandJakepossessanancientscriptdiscoveredbyRachelsbrotherthatcouldbringabouttheendofdays.Caughtinthemiddleofaplottohastentheendofmankind,RachelandJakeneedtosolveamurder,savetheworldanddiscoverforthemselvesthattreasureiswhereyoufindit.
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We are inEast Berlin, 1978. It’s summer, three years after Wassilly’s death. Nelly’s boyfriend and Alexei’s father died in a car accident in Russia. Since he is dead, Nelly wants to leave too. Away from the GDR, to leave the grief and the memories behind. To get a fresh start. That should be possible in the West, or so Nelly believes.
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LonelyteenagerMiagetshookedonthethrillsofconjuringspiritsthroughaceramichand,butwhensheisconfrontedbyasoulclaimingtobeherdeadmother,sheunleashesaplagueofsupernaturalforces,andstrugglestodecidewhoshecantrust:thelivingorthedead.
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‘How do you feel about intimate relations? Speak freely, don’t hold back.’ · ‘I think it’s the highest connection between two souls.’ Benny’s hair is as red as the fur of her devout father’s treasured calf – which he believes will bring salvation. But the 17-year-old feels as lonely and trapped as the calf in its enclosure. Benny’s mother died giving birth to her, and she grew up alone with her caring yet patriarchal father. He is a figure of authority and a mentor for many people in their Jerusalem religious community. Benny becomes increasingly critical of her father’s religious, utopian nationalism and then there’s Yael, the self-confident young woman who has set off a whirlwind of longing and emotions in her. Avigayil Koevary powerfully portrays the defiance and desire of a young woman in Tsivia Barkai Yacov’s debut feature film.
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皮奥特尔·舒尔金
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耶日·斯图尔
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克里斯提娜·杨达
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卡里娜·谢鲁斯克
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马里乌什·德莫霍夫斯基
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马雷克·瓦尔切夫斯基
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扬·诺维茨基
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亨里克·比斯塔
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莱昂·涅姆奇克
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克兹佐夫·马扎克
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斯坦尼斯瓦夫·伊加尔
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Setinanundergrounddungeoninhabitedbybundled,raggedhumanbeings,afterthenuclearholocaust.Thestoryfollowsthewanderingsofaherothroughthesituationsofsurvival.PeoplewaitfortheArktoarriveandrescuethemwhiletheirhabitatfallsapart.Delvingdeepintothedustyandlongabandondedvaultsofb-cinemainsearchoflostgemsalwaysleavesmewithabittersweettaste.Ononehandthediscoveryofunexpectedgemswherenoonewouldthinkthempossibleisarewardingexperience.Ontheotherhandthoughitmakesonewonderhowmanyoftheseremarkablelow-budgetoddities,personalloveaffairsofdirectorsneverquitefamousandnowallbutforgotten,havealmostforeverslippedfrommemory?nanycasewhatwehavehereisalittlepost-apocalypticgemfromPolandthatisreallybetterthanithasanyrightto.ThedystopiannearfutureofO-BI,O-BAfindsagroupofsurvivorsofthenuclearwarthatravagedtheEarthinhabitinganunderworldconcretebunkerandbidingtheirtimeastheywaitforthemysteriousArk,anairshipofsomekindthatwillcomeandsavethem.TheArkprovestobeanelaboratehoax,carefullydesignedtogivehopetothemalnourishedanddesperatedenizensofthebunker,whileinthemeantimethedomethatseparatestheirmiserableexistencefromthenuclearwinteroutsideisslowlycavingin.Whatfirststrikedmeaboutthemovieisthedesignofthebunkerandthedepictionofthesurvivors.Thesurvivorsaregaunt,filthyandterrible-lookingpenitents,dressedinragsandaimlesslywanderingtheneon-lithallsofthebunkerlikeautomatons.Thebunkerisarundown,seedyplace,withbrightneonlightspeeringfromallsidesliketheeyesofmalignantbeasts.Ononehanditisaslightly80’sdepictionofthedystopianfuturebutthemovieneverstoopsdowntoMADMAXcheese.Insteaditcombinesbitingpoliticalsatirewiththebleakoutlookofaworldwithnofuture,blackcomedywithbarbsonapathy,religionandpower.Thesurvivors,forexample,arefedsomekindofflourdroppingfromatubethathoversintheair-lateronwediscoverthefoodsupervisorusesbooksandtheBibleitselfasfillerforthismeagremeal.Therearemanysuchshortsymbolictouches,perhapsnotlife-changingorfaith-restoring,yetplayful,cleverandinspired.Onethingisforsure;O-BI,O-BAisnotyourrun-of-the-millsci-fischlock.Itovercomesitsmodestbudgetwithcreativityandhasgenuineartisticaspirationsbothfromawritinganddirectingperspective.Myopinionisthatitshouldhavebeenfilmedinblackandwhiteinsteadofcolourthough.Thedirectorusesatmosphericlightandshadowtogreateffectanditwouldhaveregisteredevenbetterinstarkblackandwhite.Theblue-greenneonontheotherhandoutstaysitswelcomeafterawhile.Justaminorgripeinanotherwisesolidb-moviewithitsheartsetinalltherightplaces.ImaginealessbleakTHEROAD(CormacMcCarthy)beinginjectedwiththesatireandhumourofDR.STRANGELOVEandyou’regettingthere.Seeitifyoucanfindit.
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巴里·莫罗
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"ALL YOU EVER WISHED FOR" is a fanciful tale of romance, comedy, and Italian charm. It begins in Milan with the abduction of a young American, the son of a wealthy businessman, and a ransom demand. But when the three bumbling mafia kidnappers and their hapless victim get lost in the mountains, they end up spending the night in an abandoned cottage that is under a gypsy spell. Upon awakening, each man falls instantly in love with the first soul to meet his gaze, which are, for the kidnappers: a homely spinster; a handsome woodsman; and one cute cow. The American, as luck would have it, is smitten by the sharp-tongued, raven-haired village beauty. Despite everyone's pure motives, things begin to unravel when the double-crossed mafia don and the victim's father arrive on scene to put an end to the madness. But they, too, fall victim to that gypsy love spell, and our tale comes to a fitting end with everyone getting what they wished for - or at least what they deserved.
