Masta
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"Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues.Gherman’s film is, in a sense, a response to his father’s war film 20 - Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.
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ChefJackandhisassistantLeonardwilltravelthroughtheCulinaryIslandstoparticipateinthebiggestgastronomiccompetitionintheworldand,thus,trytodefeattheiropponents
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宮崎光代
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Yumaisa23-year-oldwomanfromTokyo.Whenshecommutesbytraintoherjobinamangastudio,herfaceisathipheighttotheotherpassengersstandingup.Yumausesawheelchaironaccountofcerebralpalsy.Herdeformedlimbsonlyallowhertocrawl–andtoholdapencil.Thefactthatherboss,asuccessfulcomicartistandbloggernamedSayaka,whohasapenchantforgarishFairyKeiattire,passesYuma’sdrawingideasoffasherown,dismaysthetalented‘mangaka’.Evenworse,heroverprotectivemotherhardlyletsheroutofhersightandrefusestotalkaboutherfather.AsYumaattemptstoliveamoreindependentlife,shestumblesacrossadultcomics–mangaporn–andtoyswiththeideaofdrawingsomeherself.Thepublisheradviseshertogainsomepersonalexperiencefirst.ButwhathappenswhenawomaninawheelchairasksatoutinTokyo’sredlightdistricttofixherupwithasexdate?DirectorHIKARI’shumorousandendearing37Secondsdepictsanunusualjourneyofself-discovery-inartistic,physicalandfamilialterms.And,asthefilm’scharmingprotagonistlearns,friendswhoarenotprejudicedcanbefoundanywhere.
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WhenDetectiveMikeHoolihaniscalledtoinvestigatetheshootingofleadingastrophysicistandblackholeexpert,JenniferRockwell,sheisaffectedinwaysshestrugglestocomprehend.
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After finding the family of a civilian he accidentally killed during the war, a former Australian soldier returns to Afghanistan to face his demons, in Benjamin Gilmour's affecting drama.
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海莉·贝内特!马提亚斯·施维赫夫商谈加盟杰西·艾森伯格主演二战题材新片「抵御」(Resistance),聚焦传奇法国哑剧艺术家马塞尔·马索。「顽石之拳」导演Jonathan Jakubowicz执导并编写脚本,报告马索的人生阅历,以及在二战时代介入法国抵御活动的故事。 贝内特扮演艾玛,一位抵御活动的奋斗者,她在鼓励马索与她一同挽救不计其数的孩子,并率领他们走出法国前去瑞士的进程中表演了至关主要的脚色。施维赫夫扮演如雷贯耳的党卫军批示官Klaus Barbie,他被阿道夫·希特勒亲身指派去损坏抵御活动,对马索跟他的错误们带到平安地区的孤儿们保有特殊的仇恨。 Marcel的宗子Baptiste Marceau将担负履行制片人,熙颐影业购得中国刊行权,春季开拍。 Marcel Marceau父亲来自斯特拉斯堡,是位犹太屠夫,在奥斯威辛会合营被杀戮,因而他进修哑剧来求生,并赞助犹太孤儿们。Marceau最著名的脚色是白脸小丑“毕普老师”,他的专业表演生活长达60多年,于2007年去世,享年84岁。
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杰克·阿诺德
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An impoverished backward nation declares a war on the United States of America, hoping to lose, but things don't go according to plan.
