Hood
搜索"Hood" ，找到 以下影视作品
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丽莎·戈尼克
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GabrielleiswritinganillustratedguidebookonsexcalledHowToDoIt.AtabooksigningshemeetsSaul,anestablishedmalewriterwhoisstraight.ShebothlovesandhateshisworkwhichhasseepedintohersecularJewishlifefromchildhood.ThemoreGabrielletellshimaboutherbookthemorehewantstoknowaboutherlife;therelationshipwithheryoungergirlfriendOliviaandherdeterminationtostopusingmypenisinsex.Asherbooktakesform,isSauljealousordesirous?TheirfriendshipistestedasisGabriellesrelationshipwithOlivia.Thefilmmusesonhowwewrite,howwedraw.Andthenatureofstoryandwhatitmakesusdo.
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艾迪森·海曼
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Twocodependentbestfriendsbecomeaddictedtotheheroin-liketouchofanaliennarcissistwhomayormaynotbetryingtotakeovertheworld.WriteranddirectorAddisonHeimann’ssecondfeaturefilmisprovocativelycomedic,inventive,andinsaneinthebestpossibleway.AnodetothedeliriouslystylisticlensofJapanesecinemainthe’60sand’70s,TouchMedaresto“gothere”withitsthemesofmentalhealth,desire,andHentai-infusedsexualabandon.OliviaTaylorDudleysinksintocharactertoportrayafracturedandwanderinghumanbeingindesperateneedofalife-affirmingtouch,whileLouTaylor-Pucci’stracksuit-cladalienpersonaisplayedtodelightfulperfection.JordanGavarisandMarleneForteroundoutanimpeccablecastoffar-outcharacterswhomanagetobeatonceacrimoniousyetrelatable.Theendresultisaweird,wild,andfrenziedfeverdreamwithsomuchtounpack.Whilewemaynotbeabletorelieveourselvesofself-doubt,deep-seatedchildhoodtrauma,anddebilitatinganxietywiththesimpletouchofanextraterrestrialbeing,maybelifeisn’tsobadafterall?
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未知
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CBS宣布续订《东邻西舍》第四季，《东邻西舍》的平均收视率超过0.8（直播+当日收视），总收视人数为580万(仅次于《小谢尔顿》)，成为了CBS收视率最高的喜剧。Season-to-date,TheNeighborhoodisaveraginghigherthana0.8demorating(inLive+SameDaynumbers),makingitCBS’top-ratedcomedy,and5.8milliontotalviewers(trailingonlyYoungSheldon).
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2022year.Eighteen-year-oldDimafromDonetskisleftaloneafterhisfather'sfuneral.Hehasn'tseenhismothersincechildhoodandhaslongacceptedtheemptinessinhisfamily.Heisfarfromsportsanddoesn'tunderstandhowtheworldaroundisorganized,untilhelearnstheterribletruth:amongthecivilianscapturedinthebesiegedMariupol,theremightbehismother.Insearchofachancetofindher,Dimasignsupasavolunteerinastormdetachmentandgoestherewhereeverydayisachallenge.Butthecloserhegetstotheruinedcity,theharderitistounderstandifhewillbeabletomeethismotherbeforeheloseshimself.
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After a holiday visit with his parents, Mikey is headed to the airport to return to his wife and newborn baby. Except he doesn’t board the plane. Instead he returns to his parents’ loft in lower Manhattan, back to his childhood room that has since been converted to storage. Unsure of his own motivations, he makes up excuses about why he’s staying – his flight is delayed, his flight is cancelled. A day passes, and then another, and he calls home and work to say he can’t return just yet – his parents are getting old, his parents are ill, time is too short. His doting mother is more than happy to enable his procrastination, while his artist father is suspicious. From afar, his confused wife grows increasingly unsettled. Meanwhile Mikey moves back into his room, digging out notebooks and mementos, calling on old friends. As the days go on he becomes more and more entrenched in his adolescent sanctuary, and comes to a point where he must choose between life as it is and life as it was. --? Official Site
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马克·詹金
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康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游客纷纷下山，取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。Thepicture-postcardidylloftheCornwallfishingvillageismisleading.Whilefishingusedtobeawayofsupportingoneself,wealthyLondontouristshavenowdescendedandaredisplacingthelocals,whoselivelihoodisthusthreatened.TherelationshipbetweenbrothersStevenandMartinisalsostrained.Martinisafishermanwithoutaboat,sinceStevenstartedusingitforfarmorelucrativetoursforalltheday-trippers.They’vesoldthefamilycottageandnowitseemsthatthefinalbattletobefoughtisthatwiththenewownersovertheparkingspacenexttothesea.Yetthesituationsoongetsoutofhand,andnotjustbecauseofthewheelclamp.Baitisablack-and-whitefilmshotonhand-processed16mm.Numerousclose-upsoffish,nets,lobsters,wellingtonboots,knotsandcatchbasketsbringtomindthetheoryofamontageofattractions.Thedepictionofthedifferentsocialstrata–onecouldspeakofclassrelations–isalsoreminiscentofthetraditionofsocialrealisminBritishcinema.Aboveall,however,awholelotofcurrentpoliticalrelevanceiswaitingtobediscoveredbeneaththedifferentlayersoffilmhistoricalreferencescontainedintheimages.
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史蒂文·格拉汉姆
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An industrial tow truck driver suffering from insomnia returns to his childhood home after the untimely death of his father, to discover that a paranormal presence has been living in the house and haunting the sacred land it was built on.
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皮奥特尔·舒尔金
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After a five-year hiatus from filmmaking, Piotr Szulkin returned in 1990 - with "Femina", based on a novel by Krystyna Kofta and inspired by Luis Bunuel.The main character is Bogna, a thirty year old woman lost in her surrounding reality and unhappy in her private life. After her husband departs for a foreign scholarship, Bogna learns that her mother died. The trip to her hometown for the funeral becomes a voyage in time, during which she relives the memories of her idyllic childhood.As beautifully mounted as any of Szulkin's films, it's full of delirious wide-angle imagery (at times recalling the films of Terry Gilliam). Unavailable on DVD even in Poland, this is a most unfairly neglected work by Szulkin.
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Bipedalism, or 'two-footed walking', is the story of a painter who grew up in an orphanage and only years later learns the circumstances of his father's disappearance and death. Childhood memories bring the main character back to the past he buys a house in the suburbs that used to belong to his family. In the basement, he finds his father's archives and scientific research documents on the hybridization of human race with related biological species. Studying the archive material, he unexpectedly finds evidence of efforts to renew the experiments on the remaining hybrid population. The painter then becomes a researcher, and consequently a victim. The basic idea of his father's research was to change, control and influence the process of human evolution - initially connected with eugenics theories of the period before World War II, and now being placed in a context of modern 'biotechnological' expectations by his former colleagues. The main character tries to recreate and realize his father's heritage, who was forced to cooperate with state terror organizations, using the results of his secret research. In a tragic manner, this information turns into the main character's reality, at first forcing him to reappraise his father's values and later driving him to madness.
