艾玛是个沉默寡言的女孩,生活围着足球转。爸爸本是她的良师益友,但当他以新的身份再次出现在她的生活里时,艾玛的世界顿时天翻地覆,接受如此巨变成为了一个横亘在她面前的难题。根据亲身经历改编,玛露·雷曼首次执导的剧情长片,勇敢地打破常规、颠覆角色性别的刻板印象,同时以细腻且不失真实的笔触将人物刻画得十分贴近生活。家庭录像画中画穿插全片,流畅的缝合起这个完美普通家庭的生活拼图。
2002年,海边小城德宁发生一起连环杀人案。赌徒孙兴旺被杀,接连东湖市场副主任朱志红及其义弟周亮被杀,三起凶杀案的作案手法相同。种种嫌疑证据,指向朱志红与周亮的结拜大哥江四鸣身上。警方在对江四鸣收网抓捕之时,江四鸣却遭遇袭击追杀。危急中警方出手,擒住真凶。以为可以结案,岂料内幕才掀起一角,江四鸣与妻子吴燕的命运风暴,席卷而来…… 香火弥漫的福建海边小城,枕边的凶手、人群中的爱人,市井中隐藏着一出等待救赎的宿命人生。
同一个晚上的同一个时间,同一个班级里的所有小孩,都神秘地失踪了,除了一个小孩。整个小镇都开始怀疑,究竟是谁或背后有什么原因,导致这些小孩都不见了?
南宋绍兴年间,岳飞死后四年,秦桧率兵与金国会谈。会谈前夜,金国使者死在宰相驻地,所携密信也不翼而飞。小兵张大(沈腾 饰)与亲兵营副统领孙均(易烊千玺 饰)机缘巧合被裹挟进这巨大阴谋之中,宰相秦桧(雷佳音 饰)命两人限一个时辰之内找到凶手。伴随危机四伏的深入调查,宰相府总管何立(张译 饰)、副总管武义淳(岳云鹏 饰)、舞姬瑶琴(王佳怡 饰)等人卷入局中,案件的背后似乎隐藏着一场更大的阴谋。局中有局、人心叵测,一夜之间风云变幻,各方势力暗流涌动……
爱莎的母性不是一种明显的本能,而是一直处于一种持续挣扎的状态。她在很年轻的时候就成为了母亲,这也深深地影响着她和处于青春期女儿的关系。尽管爱莎和17岁女儿维卡住在一起,但实际上她们很少与彼此互动。爱莎把大部分精力投入到她的护士工作之中,而维卡则常常与朋友们在溜冰公园溜达。随着维卡健康状况的迅速恶化,两人的日常生活被打乱。爱莎不得不走入维卡的生活,成为一个真正的母亲。维卡的病成了一个契机,让这个小家庭里的爱得以呈现。入围纽约翠贝卡电影节,荣获最佳女演员和最佳摄影奖。
影片根据真实历史事件改编,灵感来自戈尔斯基的人生经历,少年时代生活环境艰难,酗酒,吸毒,成长过程中不乏对社会体系的抗争和对自身的挑战,最终通过艰苦奋斗,从一名毒瘾患者成为了世界铁人三项冠军。
由池大汉、薛智允、金胜铉出演,描述对儿童性犯罪者最残忍的报复的电影《狗一般的东西》将于今年12月上映。 该片是一部残酷的复仇剧,讲述了被暴力包围的10多岁少女"诗雅"失踪,被怀疑是嫌疑犯的爸爸"钟九"和神秘交织的村民之间的丑恶真相。
福瑞祥染坊掌柜唐有才欺行霸市砸了很多家小染坊,大少爷潘亦男前来阻止,不料却被小染坊的梨花误会成帮凶,梨花的爷爷在染坊被砸的过程中意外身亡,潘亦男救了梨花的命,梨花却阴差阳错地把他当成了仇人。就在当晚唐有才死在了染布池里,养子唐俊怀疑凶手就是潘亦男,而梨花正巧目击潘亦男去过案发现场,唐俊利用梨花展开了复仇行动,梨花最终向潘亦男开了枪,她以为自己手刃了仇人,却得知这原来是一场误会。潘亦男即将被枪决,关键时刻,梨花用自己的智慧救了潘亦男。
20世纪70年代末,伊朗爆发翻天覆地的革命。库尔德族诗人萨赫尔(Behrouz Vossoughi 饰)在革命中受到冲击,他被指控撰写大量抨击批判当局的政治诗歌而和妻子米娜(莫妮卡·贝鲁奇 Monica Bellucci 饰)遭到逮捕。在狱中,夫妇俩经受了残酷的折磨和非人待遇。历经三十年的漫长刑期,萨赫尔重获自由,此时米娜早于五年前离开监狱。为了寻找妻子的下落,萨赫尔辗转来到土耳其。饱受时代和命运碾压的夫妇,他们的苦难远远没有尽头。荒野上的无助寻访,往昔斑驳滴血的记忆交替浮现…… 本片根据伊朗诗人Sadegh Kamangar的日记改编,荣获2012年亚太电影节最佳摄影奖。
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
故事设定于1955年,叙述摄影师丹尼斯·史托克和好莱坞男星詹姆斯·迪恩在一场派对上首次碰面;狄恩想透过杂志的照片来为自己添增名气,因此瞒着老板与丹尼斯一同到对方的家乡印第安纳州,途中丹尼斯除了拍下他多张美照外,还为两人产生了坚韧的友情。
劳瑞尔(朱丽安·摩尔 Julianne Moore 饰)是一位办案经验非常丰富的警探,在岗位上23年,劳瑞尔的办案能力从来都没有输给过任何的一个男同事。然而她有一个秘密,那就是她是一名同性恋者,为了保护自己在警局里的地位,她必须对这个秘密严防死守。 某日,劳瑞尔在一场活动中邂逅了名叫黛西(埃利奥特·佩吉 Elliot Page 饰)的女子,黛西是一名汽车修理工,虽然他们两人无论是身份还是年龄都悬殊巨大,但恋人还是彼此吸引最终走到了一起。不幸的是,劳瑞尔发现自己患上了癌症,命不久矣,她打算把自己的养老金转到黛西的名下,以保证她在自己去世之后依然能够拥有她的房子,但劳瑞尔的申请很快就遭到了拒绝。