Na
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在罗马遭遇婚礼灾难后心碎而归,一位滞留的新郎发现,一位执着的当地人和几位爱管闲事的旅人,竟让他的蜜月之旅焕然一新——证明了心碎有时只是新的开始。
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Star, a suicidal teen now too old for foster care, develops a candid rapport with An, a student from Shanghai who is assigned to watch her while she is in hospital. A nightly exchange of secrets, text messages and possessions quickly expands the boundaries of their relationship, altering their inner chemistry.
Gilded by a soundscape that interweaves work by emerging and pioneering electronic musicians, Queens of the Qing Dynasty is an offbeat ode to neurodiversity and genderqueer individuals who refuse to conform. Director Ashley McKenzie’s blend of formalism and gritty realism does not fail to surprise and treats the audience to flashes of visual and conceptual poetry. Her cast is entirely composed of first-time actors who convincingly convey how unique every individual is, both in how they see the world and how they relate to others. Ziyin Zheng in the role of An graciously embodies a mix of idiosyncrasy and frankness that makes them an ideal confidante for Star (Sarah Walker). They have what it takes to be on the receiving end of the scrutinising gaze of Star, who sees through conventions and never ceases to be amazed at life’s bewildering events. Veering on slapstick, Walker’s performance will not go unnoticed.
Gilded by a soundscape that interweaves work by emerging and pioneering electronic musicians, Queens of the Qing Dynasty is an offbeat ode to neurodiversity and genderqueer individuals who refuse to conform. Director Ashley McKenzie’s blend of formalism and gritty realism does not fail to surprise and treats the audience to flashes of visual and conceptual poetry. Her cast is entirely composed of first-time actors who convincingly convey how unique every individual is, both in how they see the world and how they relate to others. Ziyin Zheng in the role of An graciously embodies a mix of idiosyncrasy and frankness that makes them an ideal confidante for Star (Sarah Walker). They have what it takes to be on the receiving end of the scrutinising gaze of Star, who sees through conventions and never ceases to be amazed at life’s bewildering events. Veering on slapstick, Walker’s performance will not go unnoticed.
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捷克演员转型导演的伊日·马德尔已完成其第三部剧情长片《浪潮》拍摄。影片聚焦现代捷克斯洛伐克史上具有分水岭意义的动荡时期——华沙条约组织入侵事件。这部时代剧以真实历史为蓝本,灵感源自1960年代末捷克斯洛伐克国际广播电台的记者群像。
影片以「布拉格之春」运动及1968年苏军入侵为背景,讲述一对兄弟在时代洪流中挣扎求生的故事。主人公托马什与弟弟的宿命转折点,始于1968年五一节游行——摄制组实地取景的捷克广播大楼外,兄弟俩被裹挟进历史漩涡。当时广播系统内的国际部,恰是铁幕下罕有的自由灯塔,该部门以突破新闻审查的独立报道著称。然而正当共产主义体制看似步入成熟期时,华约坦克的履带将这一切碾为齑粉。
影片以「布拉格之春」运动及1968年苏军入侵为背景,讲述一对兄弟在时代洪流中挣扎求生的故事。主人公托马什与弟弟的宿命转折点,始于1968年五一节游行——摄制组实地取景的捷克广播大楼外,兄弟俩被裹挟进历史漩涡。当时广播系统内的国际部,恰是铁幕下罕有的自由灯塔,该部门以突破新闻审查的独立报道著称。然而正当共产主义体制看似步入成熟期时,华约坦克的履带将这一切碾为齑粉。
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Due to financial problems, Yilmaz family moves in their grandmother Saadet's house. But Saadet is not living alone as known. Saadet's old house, which is also a tomb of her deceased husband, is inhabited by beings from another dimension. And this beings don't want anyone in the house, but Saadet.
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艾娃是一位受人欢迎的教师,她的丈夫是当地的市长。尽管他背叛了她的信任,她仍然计划支持他的竞选活动,因此她开始在当地的一个难民中心做志愿者。在这里,她与18岁的难民阿米尔亲近起来,他的诗歌才华深深吸引了她。然而,他们越走越近,她对局势的掌控就越少。这部关于禁忌之爱的戏剧《别叫我妈妈》让主角们面临道德考验,同时挑衅性地探讨了虚伪如何伪装成慷慨。充分利用了自己作为选角导演的经验,尼娜·克纳格从演员皮娅·蒂耶塔、克里斯托弗·约纳和塔雷克·扎亚特那里得到了出色的表现。
