March
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这是一部由亚当里德(Adam Reed)制造的时长30分钟的动画笑剧。报告的是产生在一家国际谍报机构ISIS的故事。在危急囊括寰球的时辰,这对ISIS练习有素的员工而言恰好是一个相互勾搭!损坏!背离的机遇。 男星乔恩·本杰明(Jon Benjamin)担负剧中文质彬彬而又缺少女子气势的特务主管Sterling Archer的配音,杰西卡·沃尔特(Jessica Walter)担负他欺人太过的母亲兼老板Malory的配音任务,阿伊莎·泰勒(Aisha Tyler)在剧中为他的前女友——特务Lana Kane配音,朱迪·格里尔(Judy Greer)则为Malory的秘书Chery担负配音。
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扬·加斯曼
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99Moonshomesinontwocharactersunitedbyfeelingsborderingonobsession.There’sBigna,aresearcherspecialisingintsunamiswho’salmostthirtyandonthepointofrelocatingtoChileforworkreasons,andthirty-three-year-oldFrank,whowillshakeupherconvictionstothepointshedecidestostay.
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onique Watson, a 12 - years old African American girl goes missing from her Brooklyn home. Her father Micheal Watson does everything on his power to find his little girl, he holds himself up through faith and will. The police are having a hard time finding her, when Christian Baker a young New York City journalist from The Chronicle gets assigned to her story. Christian tries to get the assignment done, he quickly and poorly researches the story and goes with the first lead. This brings down an unexpected series of events. Christian with guilt decides to join Micheal on his search and takes upon himself to race time and help find Monique.
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Oneweekonacruiseship,withparties,funandnewfriendships.Theall-gayclienteleonboardarepreoccupiedwithtopicssuchasidentity,thebodybeautifulandthesearchforsex.Everyeveningisdedicatedtoanewtheme,challengingthepassengerstoevermoreextravagant,body-huggingoutfits.Inthecabinshowever,thetalkismorethanskindeepasthemenopenupabouttheirprivatelives.Marek,ayoungPolishmanjustwantstobeacceptedandlovedasahumanbeingandnotjustbecauseofhistautbody.DipankarfromIndiahasjustrecentlycomeout;heandPalestinianRamziarerevellinginthekindoffreedomtheycanonlydreamaboutintheirhomophobicsocietiesbackhome.MartinisHIVpositiveandpondershedonisticways,whilePhilippefromFranceobservestheproceedingsonboardserenelyfromhiswheelchair.InhisfeaturefilmdebutdirectorFerlandMilewskisucceedsinprovidingalookbehindthescenesofanostensiblysuperficialworld.Hishumorousapproachhelpshimcreateagenuinebondwiththeprotagonistswhotalkopenlyaboutgaydesires,freeloveandgoodold-fashionedmonogamy.
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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菲利普·阿杰耶夫
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亚历山大·库兹涅佐夫
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Aleksandra
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Rebenok
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Aleksey
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Agranovich
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Anastasiya
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Evgrafova
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罗扎·哈伊鲁林娜
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德米特里·库利奇科夫
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伊莲娜·莫罗佐娃
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Savva
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Saveliev
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Evgeniya
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Sheveleva
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Arina
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Shevtsova
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彼得·斯科沃尔佐夫
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轰趴狂嗨电音摇头,听来不外是浮滑少年消磨时间的罕见公式,拆解后倒是创痕累累的实在情绪。酸,是识透愁味道的废青宣言,是掉落臂所有的自毁前途。他们不稳定友谊!甜美家庭!纯粹初夜!美妙将来；他们被正能量好好地隔断在另一个天下。游离在不见天日的迷幻事实之中,他们吞噬芳华,用最狂暴的方法敲开虚伪,洞见千禧新世代的性命曙光。本片是初执导筒的俄国男星亚历山大葛奇林（Aleksandr Gorchilin）长片首作。寻衅满满的镜头言语,暴发独占的生猛力道,光彩入围柏林影展泰迪熊奖。
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25-year-oldLivstillhasn’tfoundherselfyetandlivesintheprovinceswithherparentswhereshespendsmostofhertimeonthefamily’sorchard.SowhensheunexpectedlyfallsinlovewiththechaoticandadventurousAndrea,herlifeisturnedlifeupsidedown.LivistornbetweenthesecurityofherparentsappletreesandanexcitinglifeinthecitywithAndrea’sprogre...
