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扬·加斯曼
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99Moonshomesinontwocharactersunitedbyfeelingsborderingonobsession.There’sBigna,aresearcherspecialisingintsunamiswho’salmostthirtyandonthepointofrelocatingtoChileforworkreasons,andthirty-three-year-oldFrank,whowillshakeupherconvictionstothepointshedecidestostay.
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埃里克（Corin Redgrave）是一位小说家，他的想象力异常强大。 在法国乡村探索一座破败的豪宅，寻找他的故事的网站时，他遇到了一个穿着另一个衣服的女孩。 回到现场后，他遇到了一位现代女性，她说自己可能遇到了鬼魂。 他对这种看似不可能的情况着迷.
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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.
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约翰·瓦克斯
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CorinneMaillardestladirectriceducentrededétentiondeChénoise.Auquotidien,elleatendanceàcouverlesdétenusainsiquesonéquipedegardiensplutôtgaffeurscommeunemèreenvahissante.Maistoutbasculelorsquesonfils,avecquiellen’aplusdecontact,estincarcérédanssonétablissement.Elletentederenoueravecluitoutencontinuantàassumersesresponsabilités.
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Oneweekonacruiseship,withparties,funandnewfriendships.Theall-gayclienteleonboardarepreoccupiedwithtopicssuchasidentity,thebodybeautifulandthesearchforsex.Everyeveningisdedicatedtoanewtheme,challengingthepassengerstoevermoreextravagant,body-huggingoutfits.Inthecabinshowever,thetalkismorethanskindeepasthemenopenupabouttheirprivatelives.Marek,ayoungPolishmanjustwantstobeacceptedandlovedasahumanbeingandnotjustbecauseofhistautbody.DipankarfromIndiahasjustrecentlycomeout;heandPalestinianRamziarerevellinginthekindoffreedomtheycanonlydreamaboutintheirhomophobicsocietiesbackhome.MartinisHIVpositiveandpondershedonisticways,whilePhilippefromFranceobservestheproceedingsonboardserenelyfromhiswheelchair.InhisfeaturefilmdebutdirectorFerlandMilewskisucceedsinprovidingalookbehindthescenesofanostensiblysuperficialworld.Hishumorousapproachhelpshimcreateagenuinebondwiththeprotagonistswhotalkopenlyaboutgaydesires,freeloveandgoodold-fashionedmonogamy.
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Lucid Dreaming forces the dreamer's dreamworld to merge with his waking one. But at what cost to the dreamer's grasp on reality? Dreams are doorways, but what are they really for? And, if you feel you must know, beware the TRICKSTER.
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Thejourneyofatranswomanwholeavesherhometownanddoesn'tcompromisehergoaltobeafreeandindependentwoman.
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内详
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依托华纳兄弟探索集团（WarnerBros.Discovery）风靡全球IP模式GLOWUP的出色口碑与全球影响力，由华纳兄弟探索集团与腾讯视频携手打造的《美颜大师》即将闪亮上线！作为GLOWUP的中国版专业化妆竞赛类综艺，《美颜大师》将为中国和世界的观众呈现一场展现中国化妆师们精湛实力的视觉盛宴，与中国化妆界的“明日之星”一同“点亮美一刻”！
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
