Zayed
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尼古拉斯·佩雷达
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AcclaimedMexican-CanadianauteurNicolásPeredareturnstotheFestivalwithMinotaur,apendanttohis2009featureJuntos.ShotintheMexicoCityapartmentofPereda'ssignatureactorGabinoRodríguez,Minotaurisanincandescentchamberpiecethatobservesthreethirtysomethings(Rodríguez,LuisaPardoandFranciscoBarreiro)astheysleep,dream,read,andreceivevisitors(includingthehousekeeperwhotakescareofthem)intheircommunalspace.Alovelyandlethargicspelliscastasanambiguous,Marienbad-likelovetriangleemergesamongthetrio,conveyedthroughliterature(booksfunctionastelepathictransmittersanddefinersofrelationships),choreography,andtheacutephysicalpresenceofthethreeleads.ExtendingPereda'srecurringinterestsinclass,socialstructureandfamilyrelationsinMexicansocietyinitswraithlikefantasyofaleisureclassthatisquiteliterallysustainedinitsnarcolepticexistencebytheministrationsofthedomestichelp,MinotaurevokesthefilmsofTsaiMing-lianginitsdistendednaturalism,ritualisticsolitude,andcreationofacloisteredworldsuffusedwithlonging.ThesurrealauraofMinotaurseepsbeyondtheconfinesofthetrio'sapartmentintoastrange"nightwithoutdistance"inLoisPatiño'shallucinatoryportraitofbordersmugglingintheGerêsMountainsbetweenPortugalandGalicia.Castingrealtownsfolk,someofwhomweresmugglersintheiryouth,PatiñoplacestheirstifflyStraubianpresenceswithincross-processed,multilayeredtableauxofrocks,river,andtrees—anever-indeterminateplacethathasimbibedandbornewitnesstoinnumerable,desperateactsofsurvival.Conjuringaninstantinthememoryofalandscapefilledwithghosts,Nightwithoutdistanceextractsspellbindingfantasyfromthereal.
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凯瑟琳·哈恩
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萨拉·皮金
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梅里特·韦弗
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约翰尼·贝希托尔德
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伊丽莎白·辛克勒
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麦可拉·沃金丝
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Julien Marlon Samani
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Aneasa Yacoub
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Shannan Leigh Reeve
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Kevin Michael Brown
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Quentin Plair
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Melanie Hutsell
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Ian Owens
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拉塞尔·霍奇金森
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Tanzyn Crawford
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塔莎·埃姆斯
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Owen Painter
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乔纳森·斯坦利
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蒂胡纳·里克斯
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筹备快七年，由“《大小谎言》组姐妹”Reese Witherspoon和Laura Dern参与开发的《微小美丽的事物》（Tiny Beautiful Things）终于获得Hulu正式八集预订，这部半小时喜剧也邀请到了《旺达·幻视》Kathryn Hahn领衔主演，《星星之火》主创Liz Tigelaar担任主创。
Reese和Laura以及本剧原著作者Cheryl Strayed相识于《涉足荒野》的拍摄中，当时两人相中了Liz的这本书，并迅速敲定了改编权；2015年，两人将这个项目带到了HBO，并邀请Cheryl和她的老公参与改编。不过最终两人在《大小谎言》才实现再合作（也同时拥有Liane Moriaty另本书的影视改编企划），这个项目却没有了下文。如今Hulu的参与，也最终为这本书的改编之路带来一个全新的起点。
本书在2012年推出后，就登上...
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Brilliantplaywright,Lisa,nolongerwrites.ShelivesinSwitzerlandwithherfamilybutherhearthasstayedinBerlin,beatingtotherhythmofherbrothersheart.ThetiesbetweenthetwinshavegrownstrongersinceSvenwasdiagnosedwithanaggressivetypeofleukemia.HesafamoustheateractorandLisarefusestoaccepthisfate,movingheavenandearthtogethimbackonstage.Shegivesherallforhersoulmate,neglectingeverythingelse,evenriskinghermarriage.Herrelationshipwithherhusbandstartstofallapart,butLisaonlyhaseyesforherbrother,hermirror,whoconnectsherbackwithherdeepestaspirationsandrekindlesherdesiretocreate,tofeelalive...
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穆斯塔法·卡拉
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Mehmet is a man living with his family in a mountain village in Black Sea. He earns his life breeding a few animals, while looking for a mineral reserve on the mountains but his pursuit is seen as useless by his family. Destroyed in search of a mineral reserve, his hope is renewed with the news of a competition.
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雅克·贝克
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The last year of life of the Italian-French painter Amedeo Modigliani (1884-1920) who died with 36 years, was played by Gérard Philipe, who was lethally sick during the shooting of this movie and died shortly after its release, 1959, with 36 years - on one of the two diseases that Modigliano had himself and exactly in his age. Further, this movie was directed by Jacques Becker - after the sudden death of Max Ophüls. Becker, too, died only 2 years after this movie.
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PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences. We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film. PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,
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INSPIREDBYTHETRUESTORYOntheeveoftheChallengerexplosionin1986oneengineergoestotheextremetostopthelaunch.Thishot-headedengineermakesadesperateraceagainsttheclocktocalloffthebilliondollarmulti-delayedChallengerlaunch,convincedtheO-ringsealswillfailandkilleveryoneonboard.TheCompany,MarshallSpaceFlightandNASAmadeabusinessdecision.Hemadeahumandecision.
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颂克拉姆和埃都是工科学生，住在大学宿舍。颂克拉姆是宿舍3的学长，宿舍3是“强壮且有运动能力”的男学生被分类的地方。埃是2号宿舍的学长，2号宿舍住的都是“好看”的男同学。埃曾经是颂克拉姆的导师和朋友，但是当他们两个都被选为宿舍的舍长后，他们就分开了。2号和3号宿舍已经吵了好几代了。埃和颂克拉姆虽然表现得像是敌人，但是埃实际上是爱上了颂克拉姆。然而，他认为颂克拉姆对溟恩有感情。埃不知道的是，他才是颂克拉姆喜欢的人，而不是溟恩。SongkramandAyebothareengineeringstudentsandliveinuniversitydorms.Songkramistheheadstudentofdorm3,whichiswherethe"strongandathletic"malestudentsaresorted.Ayeistheheadstudentofdorm2,thedormwhereallthe"goodlooking"malestudentslive.AyeusedtobeSongkram'stutorandfriend,buttheyfellapartafterbothofthemwerechosentobeheadstudentsofthedorms.Dorms2and3havebeenateachother'sthroatsforgenerations.AyeandSongkrammightactlikeenemies,butAyeisactuallyinlovewithSongkram.However,hethinksSonkramhasfeelingsforMean.WhatAyedoesn'tknow,isthathe'stheoneSongkramlikes,notMean.
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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
