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欢乐分裂已完结

标签:纪录片 音乐 纪录  剧情 

导演:格兰特·吉

主演:安东·寇班,伊恩·柯蒂斯,彼得·胡克,吉尼西斯·P-奥里奇,巴尼·萨默,托尼·威尔森,Richard,Boon,Kevin,Cummins,Bob,Dickinson,Lesley,Gilbert,Iain,Gray,Rob,Gretton,Martin,Hannett,Alan,Hempsall,Annik,Honoré,Joy,Division,Richard,H.,Kirk,Terry,Mason,Paul,Morley,斯蒂芬·莫里斯,John,Peel,Pete,Shelley

介绍:Canada  7 September 2007   (Toronto Film Festival)  UK 2 May 2008

母与女已完结

标签:剧情 爱情 情色 

导演:保罗·托马斯

主演:杰德·拉罗什,朱莉·安妮,塔拉·怀特,克里斯蒂娜·罗丝,芭比·斯塔尔,Chayse,Evans,达娜·德阿蒙德,丹尼·芒坦,Justin,Magnum,Lee,Bank,Denis,Marti,马库斯先生,Jerry,Rod,Fontana

介绍:

残酷青春已完结

标签:剧情 犯罪 

导演:瓦尔丹·托兹加

主演:Martin,Gjorgoski,丹尼兹·阿布杜拉,尼古拉·里斯坦诺夫斯基,Ljupcho,Todorovski,Goran,Stojanovski,Martin,Zivkovski,Risto,Burazdenov,Boris,Damovski,萨拉·克利莫斯卡,Marija,Kondovska

介绍:由瓦尔丹·托兹加编剧执导,主要讲述年轻人在犯罪道路上的经历在一个由权力决定公平的国度,主人公菲利浦生活在青少年收养中心,在一个腐败警察的胁迫下,他被迫参与了一次可怕的案件,因而产生无法痊愈的心理创伤。尽管菲利浦拥有其老师的帮助、收养中心的照料、朋友佩塔尔的安慰,他最终还是未能战胜那次案件后的心理创伤带给他的痛苦。痛苦吞噬了他的理智,产生复仇之念,致使他将更多年轻人拉入他残酷命运的深渊。最终菲利浦通过其暴力、凶猛的手段,将迷失的年轻人带进了黑暗、暴力的犯罪世界。

沉默的双胞胎HD

标签:剧情 

导演:阿格涅什卡·斯莫琴斯卡

主演:利蒂希娅·赖特,乔迪·梅,杰克·班戴拉,特雷瓦·埃迪内,塔马拉·劳伦斯,阿马拉-杰·圣奥宾,Declan,Joyce,Franciszek,Przanowski,Ewa,Rodart,Jordan,J,Gallagher,Tony,Richardson,Julian,R.,Booth,Rita,Raider,Martin,Hugh,Henley,John,Hyatt

介绍:影片根据Marjorie Wallace撰写的同名书籍改编,讲述一对双胞胎姐妹非常沉默,她们只用一种专有的语言来彼此交流她们迷恋于写小说、男孩以及青少年间的犯罪活动,她们之间的紧密关系使得某些事情变得十分危险。

没有和解已完结

标签:剧情 

导演:让-马里·斯特劳布,达尼埃尔·于伊耶

主演:Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,达尼埃尔·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,Heiner,Braun,Georg,Zander,Lutz,Grubnau,若阿内斯·巴尔斯基,保罗·埃塞尔

介绍:The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

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