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类型：泰剧
主演：Sonya Saranphat Pedersen Lookmhee P
语言：泰国语
年代：未知
简介：聚焦于两个童年的朋友，一个是老板的女儿，另一个是女仆的女儿，他们在父亲死后被分开了。 我是Phleng。我生来拥有完美的生活，但在我的家庭破产后，它很快就变得天翻地覆。当我有儿时的朋友Wanwiwa和我一起长大时，生活还不算太糟。然而，由于某种不幸的原因，我不得不离开。十多年后，命运让我们再次相遇。所有的记忆都复活了，感觉比永远不会。~~改编自晁·普莱诺(เจ้าปลาน้อย).)的小说《艳遇》(艳遇:รักเล่นกล Focuses on two childhood friends, one of whom is the boss's daughter and the other the maid's daughter, who are separated from each oth er after the death of their fathers. I'm Phleng. I was born with a perfect life, but it turned up-side-down very quickly after my family went bankrupt. Life wasn't too bad when I had my childhood friend Wanwiwa who was raised alongside me. For some unfortunate reason, however, I had to walk away. More than a decade later, destiny play its hand and brings us together again. All the memories are brought back to life, the feelings stronger than ever. ~~ Adapted from the novel "Affair" (AFFAIR : รักเล่นกล) by Chao Planoy (เจ้าปลาน้อย).
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类型：欧美剧
主演：阿尔迪斯·霍吉 詹妮弗·威格莫尔 梅赛德斯·德拉泽尔达 莎伦·泰
语言：英语
年代：未知
简介：《亚历克斯·克洛斯》是由罗伯·科恩执导，泰勒·派瑞、马修·福克斯、瑞秋·尼科尔斯主演的惊悚动作电影，于2012年10月19日在baoshu8.com美国上映。该片根据詹姆斯·帕特森的同名系列小说改编，讲述了对犯罪心理颇有研究的亚历克斯·克洛斯博士与外号“毕加索”的连环杀手展开了一场斗智斗勇的殊死较量
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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.
