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工作的她
290帕纳约塔与丈夫科斯塔斯和两个孩子住在雅典一个很受欢迎的社区里,生活似乎很平静。她唯一的工作就是照料家务和抚养孩子。随着经济危机的严重打击,这个家庭艰难度日。在这种情况下,帕纳约塔为了补贴家用,外出就职,找到了一份清洁工的工作。虽然她的工作环境恶劣,她也面临着残酷的剥削,但到目前为止,她在枯燥的生活中度过了最快乐的时光。但这不会持续太久,因为第一轮的裁员很快就会到来。 -
布加勒斯特东12点8分
261一个小城的电视台在圣诞节前夕,也是革命纪念日当天准备录制一档关于城市革命记忆的节目。故事从清晨开始,电视台台长正为录制节目而做着准备。其中一位嘉宾玛尼斯古是一位历史老师,刚从宿醉中醒来,随即开始四处借钱补贴薪水,为此他还向昨夜喝醉后辱骂过的华人道歉。另一位嘉宾皮斯科斯,退休后独自生活,邻居来邀请他扮演圣诞老人,他欣然应允。按照约好的时间,节目录制开始了。玛斯尼古讲述了当年罗马尼亚革命日他们的革命事迹,此时却有不少观众打来电话驳斥他的观点并说他在撒谎。现场的争论气氛立马活跃了起来。在这小电视台讨论的大革命的问题究竟会有怎样的结论呢? -
布朗克斯的故事
2291960年代,纽约意大利人集结的布朗克斯区。黑帮老大辛尼(查兹·帕尔明特瑞 Chazz Palminteri饰)是当地赫赫有名的帮会人物。在一宗凶杀案现场,九岁的男孩安奴(弗朗西斯·卡普拉 Francis Capra饰)目睹了这一切。为了街区的名誉,安奴拒绝供出凶手就是辛尼,此事促使他俩展开一段俨如父子般的忘年友情。然而安奴的父亲罗兰逊(罗伯特·德尼罗 Robert De Niro饰)对此却并不赞成,唯恐儿子误入歧途。八年后,十七岁的安奴(李洛·布兰卡托 Lillo Brancato饰)已经成长为一名英俊少年。辛尼的势力正在逐渐扩大,安奴对辛尼愈发崇拜,对黑帮生活也更加向往。诚实正直的罗兰逊对儿子的忧虑越来越重。 由奥斯卡影帝罗伯特·德尼罗执导的电影处女作《布朗克斯的故事》,入围1993年第50届威尼斯国际电影节金狮奖。 -
布加勒斯特的秘密
538影片以18世纪罗马尼亚的地下秘密组织“兄弟会”为线索,该组织密谋推翻贵族政府为目的。影片拍摄时期为罗马尼亚共产党执政时期,对“兄弟会”进行颂扬。当时的罗马尼亚受到法国大革命的影响,民族主义运动兴起。片中的“兄弟会”酝酿发动革命推翻贵族统治,而黄玫瑰则帮助 “兄弟会”与贵族军队作战。影片本来要拍成《007》那样的系列电影,但是因为后来罗马尼亚政局变化,电影业私有化,最后只拍到了第八部。 影片风格是美国西部片式的。男主角马尔杰拉图神出鬼没,神勇无比,为“兄弟会”出生入死。他不停地嗑瓜子动作,成为他的招牌。扮演马尔杰拉图的演员叫弗洛林·彼耶尔西克,据说,他在罗马尼亚电影表演界的地位,与现在的罗马尼亚电影创作协会主席塞尔裘·尼古莱斯库相当。片中的黄玫瑰很像个美国牛仔。比如,他的枪法很好,还会趴在地上听马蹄声,而且片中还出现了西部片必然会有的场面:群马追击四轮马车和酒馆里的群架。唯一不同的是,这个牛仔不爱叼雪茄,却喜欢嗑瓜子。他嗑瓜子的镜头深深印在了中国人的脑海里,即使他们早已忘记了影片的剧情,也不会忘记这个动作。 女主角阿卡塔是著名的演员,性感、风流、直率、刚勇、不择手段,为了盖剧院筹集资金而为当局效劳,成为“黄玫瑰”的劲敌。阿卡塔的扮演着MARGA BARBU是罗马尼亚享有盛誉的著名演员,是该片编剧的妻子。她于2009.2.28死于心脏病。 -
当我们仰望天空时看见什么?
633格鲁吉亚库塔伊西一所学校门口的偶遇。Lisa和Giorgi撞到了一起,一本书掉在了地上。他们显然晕头转向,甚至没有告诉对方自己的名字,就安排了一次约会。这是一见钟情,就像被施了魔法一样,一切都开始变得生动起来:监控摄像头变成了邪恶的眼睛,排水管变成了神谕,他们闭上眼睛,然后-叮!这对恋人被诅咒了,注定第二天醒来后面目全非。但是,正是这个阻碍他们再次相遇的超自然障碍,成为他们进入一个完全由日常生活的魔力所统治的世界的门票-以简单的美、温柔的喜剧和对足球的热情,感染了年轻人和老年人,甚至是痰多的街边狗瓦尔迪。 -
快跑或飞翔
514"Run Fast Or Fly High" brings back slapstick comedy to the 21st Century. Fasten your seat belts. -
总路线
561Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress. -
情迷高跟鞋
594在蕾贝嘉(维多利亚·阿布里尔 Victoria Abril饰)的童年时期,作为当红歌手的母亲(玛丽莎·佩雷德斯 Marisa Paredes饰)就为了事业而远走他乡,抛下女儿独自长大。蕾贝嘉一直想挽留母亲在身边,不惜间接害死继父,这一切都是枉然。 母亲的光彩太耀眼,蕾贝嘉尽其一生去模仿追赶,想要成为母亲那样的人;同时,母亲的无情和永远无法超越的高度,却令蕾贝嘉对她充满妒和恨。她当上了新闻主播,嫁给了母亲的旧情人,力图让自己变得强大。但是母亲回来后,和蕾贝嘉的丈夫爱火重生,这让蕾贝嘉非常生气。她一怒之下把丈夫杀死,并坦诚了自己的罪行。 蕾贝嘉入狱后,母亲反省自己和女儿的关系为何变成这样。她要赎罪,要把正当盛年的女儿从监狱里救出来,让蕾贝嘉继续寻找幸福的归宿。 -
想吹口哨我就吹
361还有5天,西尔维乌就要从感化院中释放,可是自从他知道自己那消失了多年的母亲再次出现,并决定带走与他相依为命的弟弟后,这5天开始变得如一个世纪般漫长。 自从多年前母亲突然消失后,西尔维乌独自把弟弟带大,将他视作自己的儿子。如今在最后关头,他越来越担心弟弟就这样被带走。仓惶之中,他决定绑架自己暗恋的心理学社工安娜,并带她一起逃走。逃离感化院的西尔维乌,第一次尝到了自由的味道:穿过发间的风,开阔的大路,还有他的初吻……一切都因此有了可能。 -
我盛大的意大利同志婚礼
709Antonio 跟 Paolo 同居於柏林,生活美滿,兩人決定結束愛情長跑,結婚共渡餘生,不過他們其中一個還未向親友出櫃、另一個則跟媽媽再沒往來。為了得到家人的祝福,他們只好飛返意大利家鄉宣告婚事,同行的還有他們的喪爆房東和室友。一趟意大利旅程,引發軒然大波!七國咁亂,難關重重,要怎樣才能成就百年好合的幸福終局?改編自2003年首演的外百老匯同名音樂劇,浪漫惹笑,勇奪意大利票房佳績,笑爆戲院,叫好叫座。 -
拉莉萨
736A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art. Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.