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Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
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Oneweekonacruiseship,withparties,funandnewfriendships.Theall-gayclienteleonboardarepreoccupiedwithtopicssuchasidentity,thebodybeautifulandthesearchforsex.Everyeveningisdedicatedtoanewtheme,challengingthepassengerstoevermoreextravagant,body-huggingoutfits.Inthecabinshowever,thetalkismorethanskindeepasthemenopenupabouttheirprivatelives.Marek,ayoungPolishmanjustwantstobeacceptedandlovedasahumanbeingandnotjustbecauseofhistautbody.DipankarfromIndiahasjustrecentlycomeout;heandPalestinianRamziarerevellinginthekindoffreedomtheycanonlydreamaboutintheirhomophobicsocietiesbackhome.MartinisHIVpositiveandpondershedonisticways,whilePhilippefromFranceobservestheproceedingsonboardserenelyfromhiswheelchair.InhisfeaturefilmdebutdirectorFerlandMilewskisucceedsinprovidingalookbehindthescenesofanostensiblysuperficialworld.Hishumorousapproachhelpshimcreateagenuinebondwiththeprotagonistswhotalkopenlyaboutgaydesires,freeloveandgoodold-fashionedmonogamy.
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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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内详
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依托华纳兄弟探索集团(WarnerBros.Discovery)风靡全球IP模式GLOWUP的出色口碑与全球影响力,由华纳兄弟探索集团与腾讯视频携手打造的《美颜大师》即将闪亮上线!作为GLOWUP的中国版专业化妆竞赛类综艺,《美颜大师》将为中国和世界的观众呈现一场展现中国化妆师们精湛实力的视觉盛宴,与中国化妆界的“明日之星”一同“点亮美一刻”!
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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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30年代的芝加哥充满了混乱,黑道横行官商勾结,其中,要数掌握着私酒市场命脉的黑帮老大卡彭(罗伯特·德尼罗 Robert De Niro 饰)的势力最为强大。即使在这样黑暗的环境中,联邦探员纳斯(凯文·科斯特纳 Kevin Costner 饰)也依然怀抱着惩奸除恶的理想, 可是很快,现实便教会了他,在这个世界里,谁才是老大。 在老警探马龙(肖恩·康纳利 Sean Connery 饰)的帮助下,纳斯重拾了自信,他组织了一个专案小组,专门调查和打击卡彭的犯罪事业。在纳斯的努力下,小组的行动初显成效,可随之而来的,就是来自卡彭的威胁和迫害。组员被杀,马龙受伤,这一切的一切都不能使纳斯消沉,反而更加坚定了他除掉卡彭的决心,一场激烈的较量在正义和邪恶之间拉开了帷幕。
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刘易斯·艾伦
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小说家约瑟夫·希林(Joseph Shearing)专门使用发生在维多利亚时代英国的真实案例,并根据虚构的目的对其进行修改。 1947 年的《莫斯·罗斯》是第一部根据他的小说改编的电影,随后在 1948 年他的两部作品被搬上银幕,这部电影和《凯恩的印记》。电影中托德饰演一位最近丧偶的传教士,从牙买加返回英国的家。在航行中,她遇到了米兰德,一个迷人但危险的恶棍,因一些令人不快的交易而被警方通缉。米兰德在船上时感染了疟疾,托德照顾他使其恢复健康。在伦敦,托德在她的家中安顿下来,收留寄宿生以维持收支平衡。米兰到达并搬进去,并宣布他对她的爱。托德很兴奋,但很明显米兰只是在玩弄她。米兰德发现了她的朋友菲茨杰拉德写给她的一些信,菲茨杰拉德在信中揭露了她的一些性行为不检点的行为。由于菲茨杰拉德现在嫁给了富有的亨特利,米兰德认为他可以利用这些信件来勒索菲茨杰拉德。托德对米兰德的爱是如此之深,以至于她同意了这个计划。然而,亨特利得知了这一计划,并揭露了米兰德不为人知的过去的细节。由于担心爱人的安全,托德毒死了亨特利,然后当菲茨杰拉德因谋杀被捕时保持沉默。米兰德现在已经真正爱上了托德,两人计划离开英格兰。在他们离开之前,米兰德的一位前情人出现了,托德在嫉妒的愤怒中杀死了米兰德,然后向警察自首。 这是一部有趣的电影,尽管有点啰嗦。整个表演都很出色,米兰德饰演的无赖角色闪闪发光,这是他擅长的角色类型。虽然他大部分时间都在美国拍电影,但偶尔也会回到祖国英国拍摄,这是他自1939年《法国无泪》以来的第一部英国电影。导演艾伦也是英国人,他选择在美国工作,这是他在祖国的第一个目录工作。这是米兰德和艾伦第四次也是最后一次合作,他们的搭档始于 1944 年的《THE UNVITED》。在一艘从西印度群岛开往英国利物浦的船上,英国圣公会传教士的遗孀奥利维亚·哈伍德(安·托德饰)被说服去帮助护理下层甲板上的疟疾患者。在那里,她遇到了温文尔雅、英俊的马克·贝利斯(雷·米兰德),已经生病了。尽管马克对他的生活和过去含糊其辞,但这对夫妇还是建立了友谊。当船靠岸时,马克已经完全康复,他说服奥利维亚允许他住在她从已故丈夫那里继承的宿舍里。他继续对她进行流畅的诱惑,同时仍然抽出时间对更加世俗和粗俗的凯蒂(莫伊拉·利斯特饰)施展自己的魅力。当马克与前犯罪同伙埃德加·贝拉米(雷蒙德·洛弗尔饰)重聚时,他作为艺术品窃贼和伪造者的过去被揭露,两人计划进行一次大胆的艺术品抢劫。事情出了岔子,他们被迫进入屋顶飞行,险些躲过警察的子弹。回到奥利维亚身边,他告诉她他打算离开伦敦去其他地方谋取成功。然而,她现在已经陷入了他的浪漫魔咒中,并准备尽一切努力让他留在她身边。这对夫妇急需钱,奥利维亚被说服潜入她富有的前同学苏珊·考特尼(菲茨杰拉德饰)和她的年长丈夫亨利(雷蒙德·亨特利饰)的家中。)。她发现苏珊处于神经症状态,几乎无法抑制歇斯底里,因为冷酷而冷嘲热讽的亨利的批评而疲惫不堪,亨利同意雇用她作为苏珊的同居伴侣。在马克的催促下,她立即开始从考特尼家窃取股票、债券和小件贵重物品,然后将它们转交给马克以兑换成现金。与此同时,马克发现了苏珊写给奥利维亚的一叠旧信,其中包含年轻时对浪漫调情和可疑道德行为的轻率描述。他意识到公开这些信件的内容会损害考特尼夫妇的社会声誉,因此他相信自己已经中了财务大奖。然而,尽管她已经在他的影响下堕落了,奥利维亚还是发现了勒索的概念令人厌恶,在犯罪道路上已经迈出了太远的一步。她逃离了考特尼一家,并寻找重返海外传教工作的可能性,却发现不想要一个孤独的女人。她发现自己躲在一座阴暗的教堂里,马克设法找到了她。绝望中,她听信了他的花言巧语,再次屈服于他的控制和指示、勒索等一切之下。奥利维亚回到考特尼家并启动了勒索计划,而马克继续与基蒂调情,并向她赠送了奥利维亚送给他的挂坠盒。奥利维亚和苏珊都不知道,亨利对苏珊明显无法培养出他渴望的继承人感到愤怒,并密谋将她送进遥远的精神病院。他还聘请了一名私家侦探(利奥·G·卡罗尔饰),后者成功地追踪到了马克失踪的股票和债券,并建立了一份关于他犯罪过去的档案。亨利将惊恐的苏珊锁在房间里等待疗养院医生的到来,并命令奥利维亚离开家。在马克的要求下,她回来加强勒索威胁,但亨利用他掌握的马克信息对她进行了反击,这些信息足以绞死他。随后发生了一场斗争,亨利因心脏病发作而倒下,危及生命。奥利维亚释放了苏珊,并诱骗她给丈夫服用了一剂有毒的药物。亨利屈服了,警察被传唤,混乱而语无伦次的苏珊承认了自己的谋杀罪。她被带进监狱,面临绞刑架。马克宣布他打算带着奥利维亚一起去美国开始新生活,不受英国起诉。然而,奥利维亚对苏珊感到良心不安,当她遇到戴着有罪挂坠盒的基蒂时,事情发生了致命的转变。她对马克对她的爱的所有幻想突然破灭,她终于意识到自己一直只是他游戏中心甘情愿的棋子。她坚持自己的想法,等到有机会在双轮马车上刺死马克,以进行最终的报复。影片以奥利维亚进入警察局自首结束。
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Arnuparp
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由泰国NAVA!SINIC影视文娱跟LINE TV声誉出品 据悉,「Ghost Runner」由鬼才导演Arnuparp带领泰国气力重生演员打造的2020年度LINE TV热播剧作品。该剧情以校园为故事产生配景报告了多少个学生从一次野营返来之后产生的一系列带有悬疑颜色并交叉跑步活动热血题材的芳华校园腐剧。 值得存眷的是,在泰留学的中国少年演员曾子儒在此剧中出演一名执着寻求奔驰速率的魂魄跑者,掉掉落泰国媒体存眷。他此前还介入过破亿片子「误杀」!泰国芳华剧「高校战役」!泰国首部泰拳题材警匪片「THE GUARDIAN」等上演。此次面临泰国头条消息的独家专访,他表当初「魂魄跑者」中的脚色跟他自己性情相差很大。事实生涯中他是个生动爽朗的16岁大男孩,爱好唱歌!弹吉他!拍拍抖音!跟友人打篮球,剧中表演的脚色倒是个高冷!不怎样谈话却有目的的人,办事件爱好第一名,也算是一种新的实验。 此部剧将于往年玄月尾在LINE TV与各人会晤。他也生机中国友人们多多存眷跟支撑,前期剧方会尽快推出在海内平台播放,值得等待! 一个特其余练习营,迎来了一群接收关闭式练习的学生,但是这个黉舍里有一个逝世的运发动常常会在黉舍里浪荡,固然在学生中也产生了基情。