Tamitra
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英格玛·伯格曼
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在这个世界上，总有一些人因为他们的特立独行而被人铭记。杨（马克斯·冯·西多 Max von Sydow 饰）和伊娃（丽芙·乌曼 Liv Ullmann 饰）是一对个性独特的音乐家夫妻，战争的到来摧毁了他们赖以生存的家园，为了躲避战乱，两人乘船来到了一座小岛之上，在那里，夫妻两过上了日出而作日落而息的田园生活。 好景不长，战火很快就蔓延到了小岛上，军队和紧接而来的游击队打得不可开交，杨和伊娃好不容易得来的平静生活再度面临巨大危机，好在有好友雅克比（甘纳尔·布耶恩施特兰德 Gunnar Bj?rnstrand 饰）慷慨地出手相救，他们才得以脱离险境。然而，令杨无法接受的是，雅克比在身为恩人的同时竟也是他的情敌，他和伊娃之间并不纯洁的关系令杨心中妒火中烧。
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Episode1-TheEternityRingMI5suspectsBritishatomicresearchhasbeeninfiltrated,andaskFoyletoinvestigatewhetheraRussianspynetworkcouldbeatworkintheheartofLondon.Episode2-TheCageFoyle’sinvestigationintothedeathofanamelessRussianleadstoamysteriousmilitaryfacilityandthediscoverythatthevictimwasaspywithdangerousconnectionstoBritishintelligence.Episode3-SunflowerProfessorPeterVanHarengivesalecturetoagroupofstudentsontheself-portraitsoftheartistRembrandtandcausesayoungmantosufferafrighteningflashbackwhichendsintragedy.
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①OnaSerpentineRoad,WiththeTopDown一个女人和已故丈夫仅存的联系是她的老式车,但三十年后的今天,她面临着出售这辆汽车的艰难选择,卖掉车就意味着永别旧爱。②TheNightGirlFindsADayBoy一名患有睡眠相位后移综合症的女性,遇到了她的一生挚爱。问题是,当阳光照耀时,他正醒着,而她却不是。③StrangersOnA[Dublin]Train2020年3月从戈尔韦开往都柏林的火车上,两个陌生人相遇了,他们决定走老风格：不交换电话号码,只承诺两周后在火车上碰面。紧接着全球新冠大流行导致爱尔兰进入了全面封锁。④ALifePlanForTwo,FollowedbyOne学校里新来的女孩爱上了她最好的朋友,并且确信他们是命中注定,即使她似乎永远都走不出...
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Afatalaccidentataremotesurvivalisttrainingcampsendsparticipantsintoapanic-andsetsthestageforachillingshowdown.
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内详
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Hodjaisadreamer.Hewantstoexperiencetheworld,buthisfatherinsistshestayshomeandtakesoverthefamily’stailorshop.Fortunately,HodjameetstheoldrugmerchantElFaza,whogiveshimaflyingcarpet.Inexchangehehastobringtheoldman’slittlegranddaughter,Diamond,backtoPjort.ElFazacan’ttraveltotheSultancityhimself,asthemightyrulerhasimposedadeathsentenceonElFaza,onthegroundsthathehasstolentheSultan’scarpet.However,citylifeisn’tquitewhatHodjaexpected,andheonlysurvivesbecauseofEmerald,apoorbutstreetsmartgirl,whoteacheshimhowtomanageinthebigworld.ButwhenHodjaloseshiscarpettothepower-hungrysultan,hisluckseemstorunout.Willhecompletehismission,findElFaza’sgranddaughterandreturnsafelybacktoPjort?
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Banksy,theworld'smostinfamousstreetartist,whosepoliticalart,criminalstunts,anddaringinvasionsoutragedtheestablishmentandcreatedarevolutionarynewmovementwhilehisidentityremainedshroudedinmystery.
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Nostalgic for his glory days, a frustrated stay-at-home dad invites all of his high school Facebook friends to an 80s-themed surprise party for his exhausted corporate wife.
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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,
