-
备注：已完结
类型：电影
主演：艾格尔·纳尔 Idan Amedi Boaz Konforty 塔丽·
导演：玛雅·德雷弗斯
语言：其它
年代：未知
简介： Far from Tel Aviv and big city crimes, Daphna, 40, a promising police officer with a big mouth, finds herself in the small town of Afula dealing with petty crimes, seeking shade from the scorching heat, taking care of her aggressive cat, but more importantly, dodging the nagging question:" When are you going to get married, and have children?". The disappearance of Orly Elimeleh, a beautiful and wild 36 year-old army widow and former beauty queen, soon raises another troubling question for Daphna - why isn't anybody looking for her? This indifference towards Orly's uncertain fate shakes Daphna to the core as she begins to identify with her and to suspect the worst. Her concern gradually consumes her life, blurs her reality and causes her to question whether she is just imagining things, or is she on the contrary, the only one seeing things clearly. Matan, the younger 34 year-old son and "black sheep" of the powerful Oheyon's, Orly's late husband's family, seems to be the only one who ...
-
备注：已完结
类型：剧情片
主演：罗宾·莫格内蒂 瓦伦丁 让-查尔斯·德奎拉克
导演：瓦伦丁
语言：法语
年代：未知
简介：当导演瓦伦丁突然消失时,剧组正在拍摄一部放荡的化装电影。在当地警方调查期间,电影拍摄仍在继续,但出现了一个奇怪的转折。罗宾,摄影师兼导演的情人,遵守着一个诺言。
-
备注：已完结
类型：剧情片
主演：Melissa C. Pérez Valentina Chinchil
导演：金·托雷斯
语言：其它
年代：未知
简介： Ale, a seventeen-year-old woman, lives in rural Costa Rica with her two younger siblings. Through landscapes fueled by silence, resentment and brief moments of joy, Ale will try to protect them from the seething truth, their mother has left them and is not coming back.
-
备注：已完结
类型：动画电影
主演：未知
导演：Johan Grimonprez
语言：英语
年代：未知
简介： Based on the book of The Shadow World, this feature length documentary is an investigation into the multi-billion dollar international arms trade. Directed by Johan Grimonprez and based on Andrew Feinstein’s globally acclaimed book The Shadow World: Inside the Global Arms Trade, the film SHADOW WORLD reveals how the international trade in weapons - with the complicity ofgovernments and intelligence agencies, investigative and prosecutorial bodies, weapons manufacturers, dealers andagents - fosters corruption, determines economic and foreign policies, undermines democracy and creates widespreadsuffering. SHADOW WORLD posits an alternative through the experience of a peace activist and war correspondent, aswell as the stories of Eduardo Galeano. But ultimately the film reveals the real costs of war, the way the arms trade drives it, how the weapons ofwar are now being turned against the citizens of liberal democracies, and how the ‘shadow world’ is taking over. In the hopes that in understanding how our realties are being constructed, audiences may see through this horror, and create a better future… (more info on cinando.com)
-
备注：已完结
类型：剧情片
主演：艾格尔·纳尔 Idan Amedi Boaz Konforty 塔丽·
导演：玛雅·德雷弗斯
语言：其它
年代：未知
简介： Far from Tel Aviv and big city crimes, Daphna, 40, a promising police officer with a big mouth, finds herself in the small town of Afula dealing with petty crimes, seeking shade from the scorching heat, taking care of her aggressive cat, but more importantly, dodging the nagging question:" When are you going to get married, and have children?". The disappearance of Orly Elimeleh, a beautiful and wild 36 year-old army widow and former beauty queen, soon raises another troubling question for Daphna - why isn't anybody looking for her? This indifference towards Orly's uncertain fate shakes Daphna to the core as she begins to identify with her and to suspect the worst. Her concern gradually consumes her life, blurs her reality and causes her to question whether she is just imagining things, or is she on the contrary, the only one seeing things clearly. Matan, the younger 34 year-old son and "black sheep" of the powerful Oheyon's, Orly's late husband's family, seems to be the only one who ...
-
备注：已完结
类型：电影
主演：Hannelore Hoger Alexandra Kluge Edg
语言：德语
年代：未知
简介： The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
