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电影
ALEXANDRAHADDow:NOTMYFINESTHOUR
高清
2024剧情片
Haveyoueverdoneanythingwrong?Alexhas;relationships,sex,feminism,kids,evendancing.Theonlythingshe'sgottenrightwaswritingashowaboutit.Andlosinghervirginity.Wherewewanttobeseenpubliclytobegood,nothinginlifeisblackandwhite,andthegreypartisalotmorefun.
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电影
石之阴翳|StoneShaDows
高清
2024剧情片
本片讲述了一次前往也门的启蒙之旅，对帕索里尼（Pasolini）的寻迹以及与熟悉的阴影的邂逅。在萨那（Sanaa）古城的石块和一部纪录片的影像里寻找人生的意义，构成了一场关于记忆和失落的对话。
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电影
在明亮的萨勒河畔|DownbytheRiver
高清
影片探讨了对德尔芬·格拉（DelfinGuerra）和劳尔·加西亚·帕雷特（RaúlGarciaParet）的纪念。 1979年，两人作为古巴到默泽堡来的合同工，在洛伊纳附近的化工厂工作。两个月后，他们在萨勒河附近的迪斯科舞厅与德国顾客发生暴力冲突，随后身亡。关于其死亡的原因和具体情况至今未有定论。 影片将默泽堡的影像与记录的文本片段并置，将前合同工的记忆与默泽堡的其他声音交织，将史塔西档案和报纸文章的段落与街头采访和Facebook上的评论进行对比。这种密集的拼贴形成了对记忆、压抑及种族主义延续性的反思。 在默泽堡随处可见的涂鸦和剥落的贴纸，现已逐渐被森林吞噬的、杂草丛生的萨勒塔尔舞厅废墟，以及阴郁的水下影像等现代拼贴，皆作为视觉隐喻，呈现了集体纪念的挣扎、记忆的空白，以及种族主义的重新书写与掩盖。
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电影
Innegokońcaniebędzie|ThereWillBeNoOtherEnding,WhereDoweBegin
高清
Threesiblingsandtheirmothertrytorebuildtheirlivesaftertheunexpecteddeathoftheirfather.TheeldestsisterOlareturnstoherfamilyhomefromWarsawafteratwo-yearabsence.Shediscoversthatthehouseisupforsale,andastrangerissleepinginhermother'sbed.Herfamilyseemtohavemovedonwiththeirlives,andOla'sstayathomeisnotwelcome.Whilepackingforthemove,Olafindsfamilyvideotapes.Alongwithhersiblings–youngerbrotherPipekandyoungestsisterAjka–theydecidetorecreatetheirchildhoodphotos.Olastrivestobringthethreeofthemcloserandreconnectthebrokenfamilybonds.Beforethathappens,recallingpainfulmemorieswillcausethesiblingstoclashevenmore.Olarealisesthateachofthemisdealingwithtraumaintheirownway–aloneandunabletocope.Byconfrontingherfamily,shemanagestobreakthetensionthathasbeenlingeringintheair.
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电影
YearoftheWiDow|Rokvdovy
高清
YearoftheWiDow.Stemmingfromadiary-esquearticlebyZuzanaPokorná,thenarrativeintimatelychartsherinitialtwelvemonthsofwiDowhood. ThefilmtracesthejourneyofPetra,thrustintoanunanticipatedworldofgrieffollowingthesuddenlossofherpartner.Morethangrapplingwithherpersonalanxiety,shemustcontendwithalabyrinthofbureaucratichurdlesreminiscentofaKafkaesquenightmare.PresentedfromPetra’sperspective,thefilmexplorestheimmediateemotionalaftermathofloss,furthercomplicatedbythemazeofsocialnormsandlegalproceedingsshemusttraverse.Thus,thepsychologicaldramamorphsintoapoignantsocietalcommentaryongrief,survival,anddeathintoday’sworld.ThefilmcapturesthetransformativenarrativeofayoungwiDowreconstructingherlifeafterthedeathofherpartneranddiscoveringnewfoundindependence.“OuraspirationwithYearoftheWiDowistoprojectarealisticyetsuggestivelyportrayedstorywithapotentcatharticundertoneonscreen.Itisaboutfreshstarts,emancipation,andself-reliance.Further,itillustratestheimportanceofinnerfreedomandindependence,whichweneedtofindwithinourselvesbeforewecanimpartittothoseweholddear,”sharesthedirector.
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电影
ImSchattenderTräume|IntheShaDowsofDreams
高清
Inthisdocumentary,directorMartinWitztellsthestoryofthefriendshipandcollaborationbetweenMichaelJaryandthehomosexualsongwriterBrunoBalz.IntheroaringtwentiesandthenduringtheNaziera,thetwoproducedmanyhitsforescapistmusicals,especiallyforsuperstarZarahLeander.Usingsubversiveovertones,theytrytodestabiliseGoebbels’propaganda.Contemporarywitnesses,whoareeagertotellstories,takeusonabrilliantjourneythroughfivedecadesofGermanfilmandmusichistorythatmakesyouwantto(re)discoverforgottenclassicsandshowshowstronglymusichasshapedpopularculture.
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电影
Shook
高清
TheindiecentersonaSouthAsianfamilyinTorontoandthesuburbofScarborough. Ashiscaughtbetweentwoworldshemustconstantlytraverse,onethatofanaspiringwriterinTorontoandthatofhisfamilyintheimmigrant-richsuburbofScarborough.TheensemblecastincludesBernardWhiteintheroleofVijay,Ash’sfatherwhowantstoreconnectwithhisestrangedson,andPamelaMalaSinhaasNisha,Ash’smother.
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电影
影人莎拉·麦考密克的最后一段录像|ShaDowPeopleLastKnownFootageofSarahMcCormick
BD
2018年10月，三名学生失踪。莎拉·麦考密克，凯尔·米勒，约瑟夫·摩尔。当局现在提供的信息是，在约斯特被遗弃的家中发现了视频监控，显示了工作人员在神秘失踪前最后几分钟记录下影子人物的情况。
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电影
杰尼斯跨年演唱会2017-2018|Johnny'sCountDown2017-2018
BD
2017剧情片
ジャニーズカウントダウン生中継決定！これを見なくては年を越せない！年に一度の祭典を、どうぞお見逃し無く！
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电影
新影子军团第二章|NewShaDowWarriorsII
BD
2003动作片
風魔一族にさらわれた藤姫を乱戦の末、奪回に成功した服部半蔵（千葉真一）率いる疾風（山口祥行）、妖騎（高野八誠）、金剛丸（船木誠勝）等伊賀忍者たち。しかし、そこには影武者を含む三人の藤姫・朝露姫（勝村美香）、照手姫（中村愛美）、月夜姫（つぐみ）が存在していた。本物の藤姫を判別できない伊賀忍者はやむなく、三班に別れ藤姫の輿入れ先となる実葛家へ出立した。それぞれの姫たちと伊賀忍者を執拗に追ってくる魔の手――――風魔小太郎（山本昌平）率いる風魔一党、疾風に執着する烏丸（金子昇）等山賊たち、更に不気味に蠢く猿飛佐助（松方弘樹）率いる甲賀忍者等が容赦なく、襲い掛かってくるのだった!!
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电影
从清晨到午夜|从早到晚,FromMorntoMidnight
BD
1920剧情片
GeorgKaiserdecribesinhisExpressionisttheaterplaytheattemptofabankcashiertoescapehismiddleclassdailylife.DirectorKarlheinzMartin'sadaptationtransfersKaiser'splayintoanExpressionistfilmofradicalstylization.TheGermanfilmindustrywassoirritatedbytheresultthatthefilmneverfoundadistributionandwasnevershowninGermancinemas.TheonlyexistingprintofthisclassicsurvivedinJapanwherethefilmreceivedacinemareleaseandwaspreservedbytheNationalFilmCenter. ThematerialworldofVonmorgensbismitternachtsseemslikeahallucinationandassuchischaracterizedasdeliberatelybanalaswellasfragile,unfinishedandunstable.ThearchitectRobertNeppachusedthedazzlingsimplicityofthepainteddécortoillustratethenatureofthings,socialandhumanrelationships.Here,thebankrevealsitselfasalife-suckingdungeon,thefenceatthecashier'shouseaccentuatesaprison,itselftrappedinitsownlocation.Theunreal,paintedraysoflightonthehotelstaircaseleadingtothelady'sroomsimultaneouslyillustratedesireandtheabsenceofanykindofbasisforit.Strongcontrasts,distortedformsandperspectivesindicatestructuresofrealitywithoutdepictingadifferent,fantasticnature,andcondensethemtosuchanextentthat"thefabricoftheouterworld"becomesdiscernible. Light,costumeandmakeupdesigncorrespondedtothegraphicconceptandthesharplycontrastingemphasisonlightanddarkness.Alsothecashier'sclothes,contouredwithstripesofwhitepaint,seemtorn,appearingtomirrorhismentalconstitution.Evenifthecharactershavenotquitediscardedtheir"organicform"completely,producerRudolfKurtzhadapoint:they"areparts,formalelementsofadecorativethoughtprocess,theyarepartofathree-dimensionalimage,aretornbyflecksoflightandstripeswhichhavebeenpaintedontothem."Thecashier'smakeupcomplieswiththegraphicblackandwhitecontrasts.Hiswhiteface,hispandaeyes,theblackcontourlinesalonghisbrowandthebridgeofhisnoseandarampantmoustachecharacterizeapersonwhoissociallydeformedandyetthirstyforlife.Theremainingcharactersalsohavetheirrespectivesocialcharacteristicspaintedontheirfacesindrasticallyemphaticandexaggeratedphysiognomicdetail.Eventhemostdazzlinglighteffectsarenotusedtoformthree-dimensionalspacebutaccentuatelinesanddetailsofgraphicimagecompositioninaccordancewiththedécoroftheset. Themainstylisticprobleminalmostallexplicitlyantinaturalisticfilmsishowtheactor,whocanonlyartificiallyexaggeratehisnaturalphysiognomictraitstoacertainextent,canbeintegratedintotheimagecomposition.InnootherfilminthetraditionofnarrativecinemaoutsidethefantasygenrehasthisbeendonesoobviouslyasinVonmorgensbismitternachts,wheretheactorshavealsoformallybecomepartoftheconceptofdécorandimage.ErnstDeutschintheroleofthecashierdissolveshismovementsintotenseandthensuddenlyexplosivegestures;heemphasizes,lengthens,oracceleratessingledetailsandneverpresentsanorganic,overallsequenceofmovements.Theblack,mimiclinesonhisface,mainlyhischeekbonesandhiseyesockets,whichessentiallycharacterizethegauntfaceoftheactor,arepaintedontoachalkywhiteface,givinghimtheappearanceofawoodcut.Theambivalentroleofthecashier;thechangefromaninitiallygeriatricappearance,fullofburninginnerintensityinthefirstpartofthefilm,toayoungerexteriorfilledbytheadvancingsenilityofthedesiredinnerfulfillment,wasportrayedtoitsfullestextentbyErnstDeutsch.Hisamazingabilityto"agesosuddenlyandterribly"hadalreadybeennotedinhisrebelliousyouthfulrolesinexpressionistplays. KarlheinzMartinalsousedimagescomposedwiththehelpofcinematechnologytoagreatextent,whenevertheycouldbeintegratedintotheartificialstyleconcept,suchasthefootageofthesixdayrace,withtherushandecstasyofthespectatorsaddictedtoentertainment.Differentcameraperspectivesshowseveralterracedrowsofseatsinhistoricalstructure,wherethesocialstratumoftheprivilegedclass,thebourgeoisie,thepettybourgeoisie,andtheproletariatisillustratedandtheacceleratedrhythmofthemovementofthecamerasuddenlybecomesavertiginousrideinapaternoster.Theraceitselfhasanaccentuatedcinematicform.ThecashiersaysinKaiser'sdrama:"Iseeacircleandagaudywavyline."Itisdisplayedinatotallydarkenedroomwhichillustratesanabstractionofaracetrackasanellipticalwarpedstripofdazzlinglight.Thecyclistsappearracingthroughthissetinlap-likeinternals.Thewholescenewasfilmedthroughamirrororaconvexlens,givinganunreal,distortedimpressionoftherace.LotteEisnerdescribedthissceneasfollows:"Thecyclistsaretransformedintoananamorphosis,theyarestretchedandthroughthemagicoflightandwiththehelpofadistortinglenstheybecomesparklingfacets." Vonmorgensbismitternachtsmayhaveenrichedthedevelopmentofcinema-aesthetics,neverthelessapublicshowingnevertookplaceinGermanyinthe1920s.ProducerRudolfKurtzblamedtheradicaluseofrealhumanbeingsasadesignelementintheconstructionofthefilmimageforthereluctanceofcinemaownerstoshowVonmorgensbismitternachts:"Thismovingaroundofhumanbeingswhichonlyserveasformalelements,obstructsanyaccesstothefilm."Theeffectofcoldnessandstrangenessresultingfromtheunusual,artificialformalrestrictions,thedenialofthree-dimensionalityandobjectarrangementaswellasthesimilarlyinorganicandrhythmic-mechanicalactingstylewasadeliberatecalculation.Itsumsupratherpreciselytheintentionsofthisproduction:toilluminatefrozenandgrotesqueimagesofsocietywiththesamedazzlinglightasdesperate,andhenceequallydistorted,attemptstobreakoutofaworldwhichisunwillingtochange.Thefactthatthefilmwasignoredbycommercialdistributorsandcinemassetanearlylimitonthemarketabilityofrigorouslyabstracttendenciesinnarrativecinema. JürgenKasten
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