玛丽亚·
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约翰·威尔斯
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Rescue: HI-Surf is an action drama that follows the personal and professional lives of the heavy-water life色美眉guards who patrol and protect the North Shore of O’ahu—the most famous and dangerous stretch of coastline in the world. Each episode will feature these dedicated, heroic, and adrenaline-seeking first-responders saving lives in the difficult and often life-threatening conditions of Hawaii’s Seven Mile Miracle.
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马蒂亚斯·皮涅罗
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Tú me abrasas is an adaptation of “Sea Foam”, a chapter from Cesare Pavese’s “Dialoghi con Leucò” published in 1947. The ancient Greek poet Sappho and the nymph Britomartis meet beside the sea and have a conversation about love and death. Sappho is said to have thrown herself into the ocean from lovesickness. Britomartis apparently tumbled off a cliff and into the water while fleeing from a man. Together, the two discuss the stories and images that have emerged around them to try and understand, at least for a moment, the bittersweet nature of desire. The film adapts not only the text but also footnotes and gaps in the story. For example, the fact that, in 1950, a desperate Pavese committed suicide in a hotel room with this book by his side. Or that Sappho’s poems have survived only in fragments. Or that sea foam is historically and scientifically associated with fertility and bacteria, that is, with life itself. “Everything dies in the sea and comes back to life,” says Britomartis. Tú me abrasas introduces new readings and translations that go beyond the myths by Pavese and Sappho.
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赖斯扎德·布加斯基
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The film shows an obscure episode from the life of a Stalinist criminal - Colonel of the Office of Public Security, Julia Brystiger. Her nickname was "Bloody Luna" because during interrogations she tortured prisoners with extreme cruelty. At the beginning of 1960s she appeared in Laski near Warsaw, in the Institute for the Blind, where the Primate of Poland, Cardinal Stefan Wyszynski, was also a frequent visitor. His imprisonment in the years 1953-1956 was supervised by none other than Julia Brystiger herself. During the difficult and tempestuous conversation with the Primate, Julia Brystiger rejects the communist ideology, asks for her crimes to be forgiven and for help in finding God...
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艾乐玛·费舍尔
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1948年，彼时战后的德国正处于重建阶段，东部和西部即将面临长期分裂对立的局面。沃尔夫家族的工厂历经四代传人，有着长达80年的历史。如今这个家族企业面对着复杂多变的环境局势，不得不在夹缝中求生存...
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恩里科·玛丽亚·阿塔尔
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Pablo’s life is ruled by drugs and by the intense and oppressive relationship he has with his mother, a former cocaine mule who escaped from Colombia and with whom he shares a small house in the outskirts of Rome. After her death, following her relapse into drug addiction caused by his emotional involvement with a young Colombian girl mixed up in the smuggling ring, Pablo’s guilt pushes him to try and bring her ashes back to Colombia. When the embassy denies his request on the basis of the fake identity and passport of his mother, the protagonist will be forced to tackle the journey by ingesting ovules containing ashes instead of drugs and he will find himself in his home country for the first time, desperately looking for redemption and his mother’s house on the Madgalena river.
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内详
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上升的纽约建筑师玛戈特意外继承英国庄园。在国外拥抱圣诞节传统,她发现爱和归属感重塑了她的生活。这个故事似乎不连贯,或者也许我的意思是,它似乎没有真正的流动。玛戈特的纽约生活与她的英国庄园生活不协调。玛丽亚·梅诺诺斯似乎是在扮演玛戈特的角色,在争吵中脱颖而出。我可以很容易地看到这个女人是庄园的女主人。或者我肯定她会成为高价值房地产的团队激励者。我看不到的是梅诺诺斯和我们这些凡人在一起。哦,她试了试,做了一些简单的努力,但似乎还是做不到.我也没看到凯尔·普赖尔和他很像。故事的第一个镜头让我的品味很差.我开始想,这部电影是否会与几乎任何类似的圣诞故事相反--在这种情况下,抛弃历史,用空洞的浮华取而代之。要想知道她的遗产里有什么收获还需要一段时间。与此同时,玛戈特在追踪维多利亚留给她的线索。线索是线索,还是否定了线索?这是一部不怎么样的电影,但我并不喜欢.
