Imori

LeadingLadiesreflectshowguiltaffectsusindifferentwaysbasedonourperspectiveormemories.Awelcomedinneristheexcusetodiscoverthatwealwayskeepasecretfromwhoknowusthebest.Fivepointsofviewthatshowusthateachofthesefivegirlstries,asbesttheycan,toleadtheirownlives.Somelieshavebeensavedforyears,otherwherehiddenformonths…...

ThesublimecombinationofmusicandanimationstrikesafreshcordinSound&Fury,anewanimefeaturefromGrammyAward-winningrecordingartistSturgillSimpsonandwriter-directorJumpeiMizusaki(BatmanNinja;founder,KamikazeDouga).SettostreamgloballyonNetflixthisfall,thefilmissetentirelytoAmericanrockmusicoffSimpson’sforthcomingalbumofthesamename,tobereleasedsimultaneouslybyElektraRecords,andwillfeatureadifferentanimesegmentforeachsong.TheprojectwasannouncedbySimpsonatapanelatSanDiegoComic-Conthisweekend.Sound&FuryisproducedandbasedonastorybySimpson.InadditiontotheconsiderabletalentsofMizusaki,theproject’skeycreativesincludeAfroSamuraimangacreatorTakashiOkazaki,handlingcharacterdesigns;directorsMasaruMatsumotoofGrayscaleArts(StarshipTroopers:TraitorsofMars),MichaelArias(TheAnimatrix),HenryThurlowandArthellIsomofD’ArthShtajio,andKojiMorimoto(Akiraanimator).ShunsukeOchiaiisco-executiveproducer.ThealbumSound&FuryisproducedbySimpsonandmarkshisfirstfull-lengthreleasesince2016’sASailor’sGuidetoEarth,whichwonBestCountryAlbumandwasnominatedforAlbumoftheYearatthe59thGrammyAwards.

本片报告了1970年月德国极左恐惧构造“赤军支队”的兴衰史。由安德里亚斯·巴德尔（莫里兹·布雷多MoritzBleibtreu饰）跟乌尔丽克·迈因霍夫（马蒂娜·戈黛特MartinaGedeck饰）引导的德国无当局主义构造“赤军支队”,从1972年开端始终从事极左的恐惧运动。在标榜以德国“国度品德腐烂”的名义下,该构造试图创破一个愈加人道化的社会体系。但是他们恰是用以暴制暴的方法,犯下了多起暗害!爆炸袭击以及绑架的罪恶,所谓的人道在嗜血成性的恐惧变乱傍边消逝殆尽。影片依据记者斯特凡·奥斯特80年月的滞销书改编而成,荣获2009年第81届奥斯卡金像奖最佳外语片提名,2009年第66届金球奖片子类-最佳外语片提名,2009年第22届欧洲片子奖最佳男演员提名等多项大奖。

Amikoisn’tlikeotherchildren.Herendlessenergyandcuriouseccentricitiesmakeheranoutcastatschoolandgetherintroubleathome.Whenapainfulfamilylossdisruptsherseeminglyidyllicseasidelife,hersenseofisolationintensifies,yetitdoesn’tstopAmikofrominvitingpeopleintoherworld.MoriiYusuke’sdirectorialdebutisaconfidentandcompassionatestoryaboutachild’simagination.Thefilmbalancessorrowwithjoyandharshlessonswithnaivedelight–muchlikegrowingup.Crucially,Amikoneverforgetswhoisatthecentreofthestory.Thewryhumouranddetailedcompositionsofsmall-townJapan,aswellasthefilm’shopefultenor,arereminiscentofOgigamiNaokoorHirokazuKore-eda’sworks.ThegentleandlanguorousatmosphereisenrichedbyascorefromupcomingfolkstarIchikoAoba.KanaOsawadeliversanexquisite,force-of-natureperformanceasyoungAmiko.Effortlesslynatural,hercommandingpresenceandvitalitycarrygreatweightwhilstensuringthefilmneverfallsintodespair.Amiko’sunbeatenspiritinthefaceoftiredadultsanduncooperativeclassmatesletsusgothroughthepain,aswellasexperienceflashesofmischievouswhimsy,alongsideaspiritingmusicalsequencethatwillensureyou’llneverlistentoacongadrumthesameway.源自：https://iffr.com/en/iffr/2023/films/amiko

Fleeing from despair after losing those dearest to him, the hero hides in a safe land of memories, where time stands still and all those dear to him are alive.

J（赫里尼克?罗斯汉 Hrithik Roshan 饰）做梦都想过上有钱人的生涯,然而运气老是跟他开顽笑。在拉斯维加斯打拼的他在最潦倒的时间,乃至会跟那些想拿到美国绿卡的女人假完婚,赚取必定的佣金。然而他却差点儿错过自动投怀送抱的巨室令媛GINA（康格娜?拉瑙特 Kangana Ranaut 饰）。GINA的父亲BOB是拉斯维加斯最大赌场的老板,JAY得悉后,终极凭仗本人精彩的舞技博得了BOB一家的欣赏。原来自此便能够青云直上的他,在BOB家不测碰到与他假完婚的LINDA（芭芭拉?默瑞 Bárbara Mori 饰）,此时,LINDA曾经预备嫁给GINA的欧巴TONY了。在相处中,J跟LINDA黑暗互生情愫,并终极打伤TONY私奔。然而,TONY并不盘算容易放过他们,不只诬告他们丢走了赌场巨额财帛,并且动用了全部气力对他们直接围剿……

一直以来，丹尼（ChrisD'Elia饰）都自信是一名把妹高手，新室友贾斯汀（BrentMorin饰）的到来更令他坚定了这一想法，因为贾斯汀和他的一帮子朋友一样，属于那种十分渴望但永远都泡不到姑娘的“宅男”。于是，丹尼自告奋勇主动出击，提出通过专业而系统的课程，来帮助宅男们一圆他们“抱得美人归”的梦想。在经过了一番准备之后，丹尼带领一干人等参加了一个神秘的聚会，经过丹尼教化的贾斯汀果然十分争气，于当晚便携一神秘女子共度良宵，让丹尼没有想到的是，这个女人不是别人，竟然就是他的姐姐莱斯利（比安卡·卡里什BiancaKajlich饰），事情发展到这一步俨然早已脱离了丹尼的掌控，他会做出怎样的回应呢？

一个希腊后嗣的德国人Zinos（亚当·布斯多柯斯 Adam Bousdoukos 饰）在汉堡开了间餐厅,名字叫“Soul Kitchen”,近来遭受了严峻的财务危急,绰绰有余,难认为继。灾患丛生,Zinos还由于一次不测而腰椎间盘凸起。而他的情绪生涯也有费事,他的女友Nadine（菲琳·罗根 Pheline Roggan 饰）是一名记者,决议到上海任务。他的弟弟Illias（莫里兹·布雷多 Moritz Bleibtreu 饰）刚从牢狱里假释出来,离开Zino的餐厅打工。由于身材疑问,Zino只能雇了别的一个厨师Shayn（波热尔·尤内尔 Birol Ünel 饰）,然而Shayn做出的新菜,却不遭到老主顾们的欢送,餐厅的收入盛极一时。而Zinos的女友也决议摈弃他,跟一个在上海不期而遇的人在一同。疑问多多的Zinos该怎样咸鱼翻生！Soul Kitchen是否继承业务！

CBS电影改篇剧《反恐特警组S.W.A.T.》改篇自2003年同名电影（那电影其实又改篇自1975年的同名剧集），《反恐特警组》由SonyPicturesTV与CBSTVStudios合作制片，执行制片包括ShawnRyan﹑NealH.Moritz﹑林诣彬﹑AaronRahsaanThomas。《反恐特警组》由AaronRahsaanThomas编剧﹑林诣彬执导，剧集指会是紧张﹑动作十足的程序剧，讲述一位黑人特警组警督Daniel‘Hondo’Harrelson，得分开自己对街头的忠诚及对自己同僚的责任感下，管理一支训练有素，但又被遗弃的新部队，而他们将成为洛杉矶对付罪犯的最后防线。在上季离开了《犯罪心理CriminalMinds》的ShemarMoore饰演上述角色Daniel‘Hondo’Harre...

Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.