TaraMarks

Inadilapidatedcyberpunkcityplaguedbycrimeandcorruption,anunscrupulousDistrictAttorneyissavagelymurderedandtossedoutofabuildingontohisbrandnewcar.Mysteriously,theDistrictAttorneyandhiscarcomebacktolifeasasinglebeingwithathirstforvengeance.Theeeriedriverlesscarembarksonaviciousrampageexactingrevengeonthecriminalswhomu...

WiththeimminentreleaseofRoseMatefeo’sbrandnewromcomStarstruckonBBCThreeattheendofApril,thiscomingyearmarksawatershedmomentinbroadcastinghistorywithmostBBCThreecomedyeitherstarring,writtenbyorcreatedbywomen.BBCThreewillbethefirstUKchanneltoachievethislandmarkinfemalerepresentationwith58%oflong-formscriptedcomedywrittenbywomen.UpcomingtitlesincludeLazySusan,StarstruckandEllieandNatasiaplusthesecondseriesofbothInMySkinandBacktoLife.Inadditiontothis,theBBCtodayannouncesfournewBBCComedySlicesforBBCThree,allofwhicharewrittenbyand/orstarfemaletalent:Ladybaby,Amicable,DinosaurandBritney,whichresultsinthemajorityofcomedyprogrammesonBBCThreenowbeingfemaleled.KateDaughton,outgoingHeadofComedyattheBBC,says:“BuildingonthehugesuccessofPhoebeWaller-BridgeandDaisyMayCooper,thismarksamonumentalachievementandistestamenttothefactthemostpioneeringandexcitingnewvoicesincomedyareincreasinglyfemale.”KateleavestheComedyCommissioningteamtodayhavingmadeatremendousimpactoverseeingaraftoffemalefirsttitles.SinceKate’sarrivalin2017shehascommissionedandnurturedFleabag,Mum,Ghosts,Gavin&Stacey:ChristmasSpecial(2019),ThisTimeWithAlanPartridge,BacktoLife,TheGoesWrongShow,OutofHerMind,TwoDoorsDown,InMySkinandManLikeMobeen.AlongsidetheforthcomingWitchfinder,Alma’sNotNormalandStephenMerchantseriesTheOffenders(w/t).ShaneAllen,DirectorofBBCComedy,says:“Fiveyearsagotherewerestillarticlesaskingwhereallthefunnywomenwere.Thathoaryoldnonsensecanfinallybedispensedwithonceandforall.It’salevelplayingfieldwiththemostvibrantanddynamicworkcomingthroughfromfemaleswritersandwriterperformerswhoareelevatingtheartformofcomedyandexpandingitshorizons.AsforKateDaughton,nolongerwillshecurseatmeforloudsneezingintheoffice.Partlybecauseshe’sleavingandmostlybecausewe’venotbeenintheoffice.Trulybereft;indenialthatshe’soffandwe’reluckytohavehadherforsolong.”CharlotteMoore,ChiefContentOfficer,says:“Kate’simpeccabletaste,whipsmartcomedybrainandbeguilingwayswithtalenthavehadatransformativeimpactonthecomedyoutputinhertimehere.ThefactthatBBCThreecanclaimtobethefirstUKchannelwithamajorityoffemaleledandwrittenscriptedcomedyisinlargepartdowntohervisionandpassionforbackinggenredefiningfemalecreatives.She’llbesorelymissedbutthankfullyleavesbehindaterrificlegacyofshowsahead.”

In1979 - ayounggirlstumblesuponapossessedtapeplayer.SheunknowinglyunleashesademonicentitythathauntsherfamilywhileslowlydraggingthesmalltownofClarkstontoHell.

Albert who lives in the small Danish provincial town Kalleby. Albert is always up to no good, but he's also really clumsy. One day he comes to overturn the city's landmarks - a statue of a balloon captain. The townspeople are mildly not happy with his recent accident, so with his best friend, Egon, Albert takes off on an adventure to find a real balloon. On their trip postponed friends of both robbers, gypsies and the world's largest diamond.

“伊卡罗斯”是龙格尔所扮演的杀手的代号，只有部分人知道伊卡洛斯这个代号，而其他人只知道他是个已经离婚的单身父亲，工作在一家投资公司。大多数人都没有看到伊卡罗斯的阴暗面，他总是在杀人时表现最佳。多年来他以潜伏特工的秘密电影身份工作在美国，但当其苏维埃祖国解体后，他感到孤立无援。他试图摆脱过去，但有些人不能放过他。伊卡罗斯只好为了家庭妻儿，开始搏杀。TherewerethosewhocalledhimIcarus.Everyoneelseknewhimasadivorcedfatherworkingforaninvestmentcompany.Buttheydidntknowhisotherside-hisdarkside.BecauseIcaruswasathisbestwhen...

Adocumentaryabouttheresonatingeffectsoflosingalovedoneinwar.ThestoryfollowsdirectorChrisJohnsononanodysseyofdiscoveryashesetsouttoconnectwithhislateGreatUncle,RoyalA.Stratton,a22yearoldrescuepilotwhodiedsavingthelivesof9airmenintheSouthPacificduringWWII.Johnson’sjourneyleadshimtothesolesurvivingmemberofRoyal’screwandthesurvivingmembersofthe4thEmergencyRescueSquadron.Itisfromtheseheroicservicementhathelearnsofthedangerousmissionsthatcarriedthemunarmedintothepathoftheenemy.InanefforttounderstandhisGreatUncle’sexperience,JohnsonreachesouttotheproprietorsoftheNewCastle,PennsylvaniaairfieldwhereRoyallearnedtofly.ThereheembarksuponhisownflighttrainingwiththegoalofpilotingarestoredWWIIPBY.Alongtheway,heencountersa100yearoldpilotwhorecountsthehistoryoftheairfield,theevolutionofaviationoverthepastcenturyandthepassionthat...WrittenbyJohnson,Christopher(IV)

　　Traumatised by the death of an innocent. Killer for hire Bradley drops out of society, seeking meaning roaming the dangerous streets of a tough inner city ghetto. When he encounters a savage pimp and a desperate woman under his control Bradley finds the means to give battle to the inner demons that have eluded him. He embarks on a quest to save a young girl from the clutches of the brutal gangsters that trade human beings as currency. Drawn deeper into a sickening world in which age is no bar to exploitation and pursued by police, gangland villains and a mysterious agency known only as The Executive. Bradley discovers an ever deepening web of corruption and vice, and a dangerous game in which nothing is what it seems and no one can be trusted.

In the bleak filmscape of glasnost, The Needle stood out as a black sheep of a movie. The most playful and offbeat of the Soviet films of the period, it contrasted sharply to the mainstream, which was overwhelmed with revisionism of the Stalinist past and nihilistic social criticism. Made in 1988 by a young Kazakh director, Rashid Nugmanov, fresh out of VGIK (the national film school), The Needle was a pioneering effort in several ways. Having e from a remote, stagnant republic of Kazakhstan, the picture set off a movement that has e to be known as the "Kazakh New Wave." Represented by such works as Alexander Baranov's and Bakhyt Kilibayev's The Three (1988) and Woman of the Day (1990); Kilibayev's The Tick (1990); Baranov's He and She (1990); Abai Karpykov's Little Fish in Love (1989); and Serik Aprymov's The Last Stop (1989), the Kazakh New Wave was for the agonizing Soviet film of the late 1980s what the French New Wave was for the dusty French film of the late 1950s. The Needle was the movement's a bout de souffle. The film also became a model for the Russian version of postmodernism—uninhibited and uninformed, pensating for the lack of culture, skill, and resources with mischief and wit. A young man named Moro (played by Viktor Tsoi, the late rock 'n' roll legend from the St. Petersburg band "Kino") returns to his Asiatic hometown only to find his exgirlfriend, Dina (Marina Smirnova), being a drug addict and himself being involved in the bizarre life of the city's underworld. In an attempt to save Dina, Moro takes her away to the Aral Sea, turned into a barren desert by the time they arrive. There Dina seems cured, but back in town everything starts anew. Almost desperate, Moro decides to fight the drug dealers, led by a hospital doctor (played by another rock 'n' roll star, eccentric leader of the "Sound of Mu" band and the future star of Taxi Blues, Pyotr Mamonov), when one of them stabs him in a deserted park.

After Hassan discovers Zidik living alone on the streets, he takes him in and cares for him like a son. Zidik now works together with Hassan in the junkyard but both men are stuck in the past. 15 years ago, they lost their loved ones to a virus that turned people violent. Hassan often "forgets" that the virus killed his wife, while Zidik still remembers his sister attacking his...

憧憬成为可爱女仆的少女和平和美，为追逐梦想来到了竞争激烈的秋叶原，她会遇到怎样的人和事呢？这是Cygames×P.A.WORKS献上的，关于“萌与暴力”的故事。一起萌萌心动吧！