Piet
搜索"Piet" ，找到 以下影视作品
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温琴佐·马拉
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40岁的神父giuseppe面对信奉与心灵危急。他出身坎佩尼亚地域,先在非洲传道一段时光,之后回到罗马的小教区效劳,他要求主教将他调回故乡,素性能为本人的出身地尽一份力,主教允许了他。giuseppe开车离开那不勒斯四周一个有很多公寓大楼与社会室庐的小镇。 这个教区神父是don antonio,往年55岁,布满自我魅力也深受外地尊敬,他率领外地住平易近支持守法倾倒产业废弃物。黑手党在外地营运渣滓埋葬场,在田野合法倾倒并熄灭废弃物,有毒废弃物形成情况传染,外地人称之为“火之地”。 don antonio分开之前,把外地情况告知giuseppe,并先容了外地住平易近给他意识,包含癌症患者maria,她正在寻觅掉散多年的儿子saveio,40岁,颜面伤残的gaetano,他是外地黑手党魁脑,；8岁的祭坛助手daniele,他由于球场被一只山羊占领而整天在陌头踢足球,以及30岁的妇女assunta,don antonio表现她有严峻的精力疾病。 don antonio分开之后,giuseppe以行为证实本人,先帮daniele把足球场扫除清洁,从新开放园地,在一个吸毒者集合的处所找到saverio,压服他回家看母亲,他经心努力赞助社区住平易近,这时assunta告知他一个机密：她的朋友侵占她十岁的女儿。! giuseppe追求don antonio的帮助以查出本相,但don antonio疑惑assunta的说法。 Giuseppe也受到gaetano威逼,但他坚定找出本相,无论支付多大价值,他相对不废弃assunta母女。
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想咬第一口苹果！最后权力是对于一群人接收了男孩Concord的一项协定,接收面貌全非从而使天下上的全部费事都消逝。下一季里,全部大门都翻开,两个恶魔成了全部人的高朋。为了解脱屋子的约束,Caretakers同盟与Concord结合起来,即便如许也迫不得已。种族开端找到可以解开全部的屋子约束的全能钥匙 ,但为了找到处理疑问的钥匙就得废弃他们最后的权力。
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布瑞亚·格兰特
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It's 1998 - and over the course of one 12 - Hour Shift at an Arkansas Hospital, A Junkie Nurse (Angela Bettis), Her Scheming Cousin (Chloe Farnworth) and a group of black market Organ-Trading criminals (Mick Foley, David Arquette, Dusty Warren) start a heist that could lead to all of their demise.
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雅克·范·多梅尔
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平民家庭的托托（ThomasGodet饰）与隔壁富人家庭的阿尔弗雷德（HugoHaroldHarrison饰）在同一家医院同一天内出生。托托坚信，因为医院的一场大火，导致他们两个婴儿被父母抱错。本该属于他的优渥生活被阿尔弗雷德夺去，当然，每当他提及此事时不免遭受阿尔弗雷德的一顿老拳。随着父亲的意外去世，托托对阿尔弗雷德一家的嫉恨逐渐加深。憎恨并未令他得到满足与补偿，反而使他的一生永远笼罩在阴影之中……本片荣获1991年戛纳电影节青年奖最佳外语片奖、1992年法国凯撒奖最佳外语片奖、1991年欧洲电影节最佳男主角（MichelBouquet），最佳摄影，最佳剧本和青年电影奖、1992年葡萄牙奇幻国际电影节最佳影片和最佳剧本。
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比尔·杜克
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Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
