Darius
搜索"Darius" ，找到 以下影视作品
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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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Two penniless brothers with no prospects, who hope to give their thirteen-year-old sister a better future, invent an unusual job for themselves: armed with masks and mini cameras, they publically demolish the identity of the various “neighborhood sly guys” who infest Italy, transforming themselves into two improbable “heroes for hire.”
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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
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昆汀·杜皮约
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Alain and Marie moved to the suburb house of their dreams. But the real estate agent warned them : what is in the basement may well change their lives forever.
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A young man, Guy, discovers the woman he's been sleeping with is not only married, but married to Burt Walker, a notorious low-level crime boss. Worried that Walker will at some point discover the affair and kill him, Guy decides to be upfront, tell Walker about his transgression and beg for forgiveness. The ploy works, and the pair form a very unusual, and ultimately dangerous, friendship. Written by Conspicuous Pictures
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Following the crisis in Ukraine and Russia’s involvement in Syria, the world is closer to super power confrontation than at any time since the end of the Cold War. Now a committee of senior former British military and diplomatic figures comes together to war game a hypothetical ‘hot war’ in Eastern Europe, including the unthinkable - nuclear confrontation. The War Room faces a scenario that has haunted western strategists since civil war broke out in Ukraine potential Russian military involvement in the Baltic States of Latvia and Estonia. Like Ukraine these countries have sizable Russian speaking minorities, but unlike Ukraine they are members of NATO, whose founding treaty states that an attack on one ally is an attack on all of them. Because of this, western analysts regularly war game a situation where Russia seeks to exploit ethnic tensions in the Baltic and test the strength of the NATO Alliance.
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一个破产的年轻人为避开社交互的隐居客户找一份替身工作。与此同时，他和一个在酒吧认识的同事擦出了浪漫的火花。但是当他的客户开始干涉他的私人生活时会发生什么呢？Abrokeyoungmantakesajobasastand-inforhisreclusiveclient,whoavoidssocialinteractions.Meanwhile,hesparksaromancewithacoworkerhemeetsatabar.Butwhathappenswhenhisclientstartsmeddlinginhispersonallife?
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由德国女导演莫妮卡-楚特执导、台湾与德国两地公司联合制片的一部女同性恋题材新影片《暧昧》的剧组已经结束了在德国汉堡的拍摄，目前正在台湾摄制外景戏。 《暧昧》是一部以台湾和德国两地为故事背景的剧情片，片中德国汉堡的女艺术家索菲的同性恋人爱玲被谋杀后，由胡婷婷出演的台湾女记者梅丽又与索菲之间有一段浪漫同性恋情，同时还交织着调查爱玲死因的悬疑故事。据莫妮卡-楚特的制片公司发布的消息，影片《暧昧》获得了汉堡市政府电影基金会、德国文化部以及台湾地区新闻局的资金支持。 《暧昧》集浪漫、悬疑、惊悚于一炉，胡婷婷饰演记者，和德国艺术片女演员英嘉布什（Inga Busch）演的摄影师有激情戏，胡婷婷说：“我没裸露，但和英嘉布什有亲吻，感觉还不错，像吃棉花糖又甜又软，和亲男生没甚么不同，不是异性间刺激的吸引，但有说不出来的温柔，其实爱情是不分性别的。” 导演莫妮卡-楚特多年以来在她的电影作品中将性别与性倾向话题作为关注内容之一。另据爱白网资料，这位在德国颇具名气的独立电影人曾在许多国际电影节上获奖，其中包括获得柏林电影节的泰迪熊奖、以及意大利都灵同性恋主题电影节的最佳影片奖。可說是德、台混寫兒的劇情長片【曖昧】移師20日在台北市國際藝術村取景，此片導演蒙妮卡楚特其實與台灣很有淵源，她過去曾多次來台，除了參加女性影展、更擔任金馬獎評審，她長期對台灣的一切充滿興趣也很熟悉。這回創作【曖昧】，故事跨越德國漢堡、台灣台北兩個城市，一西一東，藉由3個女性角色，寫下兩段複雜深刻的愛情故事。 【曖昧】整個劇組之前已於德國拍攝月餘，包括柯奐如、胡婷婷等台灣演員都飛至漢堡拍片。而女主角蒙妮卡3天前帶著十多位德國劇組工作人員飛來台北，展開台北部份的拍攝，估計兩週之後殺青。【曖昧】預計年底後製完成，初步計畫將參加明年初的柏林影展，台灣則暫定明年3月左右上映。
