Gar
搜索"Gar" ，找到 1026部影视作品
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Jesús Garay
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艾西亚（Diana Gómez 饰）是一个18岁的美丽少女，对于她来说，年轻带来的并不是自由和快乐，正相反，生活的压力和家庭的束缚让她感到沮丧与痛苦。一次偶然中，艾西亚结识了神秘的爱洛斯（Ariadna Cabrol 饰），后者自由不羁的行为作风让艾西亚深深着迷。随着时间的流逝，爱洛斯和艾西亚之间的距离越来越近，而艾西亚发现，自己对爱洛斯的感情并非仅仅是友情那么简单。 在爱洛斯的引领下，艾西亚的灵魂和肉体都逐渐获得了解放，但这一现象在保守又刻板的母亲眼里却并不是好事，对于两个女孩之间的关系，她千方百计的阻挠着。这一段混浊世界里的纯洁感情能否得到祝福呢？
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米夏埃尔·科赫
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乌克兰少女玛丽亚在德国多特蒙德的一间宾馆当清洁工我才不会对黑崎君说的话言听计从，她梦想着靠每月攒下的钱开一间理发店，不料突遭解雇，梦想似乎要化为泡影。没了工作，迫于经济压力，她不得不另寻出路。她放下尊严，出卖了自己的肉体，甚至不惜...婚纱摄影网站源码
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Lauren Garroni
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The film watches as an enterprising Sugar Baby, offered ten grand to move in with her Sugar Daddy, comes to discover the dark secrets trapped within his home. Pic is described as part biting dark comedy, part erotic thriller — but above all, a story about sex work through a feminist and queer lens.
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裘德·泰勒
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约翰（詹姆斯·法伦蒂洛 James Farentino 饰）一家参加女儿的校庆后，在回家的路上，女儿遭遇了因酒后驾车引发的车祸，不幸身亡。父母深陷悲痛之中，而法庭的判决并没有给他们带来安慰。在法庭上，肇事者汤姆（唐·默里 Don Murray 饰）请来了一名律师，采用各种手段来保护他的当事人免于牢狱之灾，并保留他的驾驶执照。受害人的父母雇佣的律师面临着很大的困难，难以战胜对方的辩护。法官在宣判之前似乎被迫倾向于肇事者的辩护人，这使得肇事者看起来可能逃脱法律的制裁。 电影凸显了法律体系中的一些不公正和漏洞，以及在司法过程中受害者家属所面临的无力感。同时，通过描绘法庭内外的角力和法律斗争，故事向观众展示了一个复杂而令人动容的法律纠纷，挑战了正义与公正的界限。
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安德烈斯·拜斯
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Colombian music icon Juanes plays Moisés, the eldest of three brothers plying this perilous trade and the linchpin of the operation, while Alberto Guerra delivers a compelling performance as Ulises, a man paralyzed by conflicting decisions and haunted by fear and grief. When Juan (Alejandro Speitzer) — the youngest of the brothers — is coerced into working for a more powerful, rival criminal organization, the shocking underbelly of the business is laid bare and there are tragic consequences.
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Alexander Kluge
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The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
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阿方索·卡隆
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本剧改编自蕾妮·奈特的同名小说。 著名记者Catherin女狼俱乐部下载e Ravenscroft（凯特·布兰切特 Cate Blanchett 饰）因揭露他人的不端行为而声名鹊起。在收到一位不知名作者的小说后，她惊恐地发现自小草在线视频观看己就是书中的主角，而这个故事揭露了自己最黑暗的秘密。 在Catherine争分夺秒揭开作者真实身份的过程中，她不得不直面过去，以免它毁掉自己的生活，毁掉自己与丈夫Ro听书网下载bert（萨莎·拜伦·科恩 Sacha Baron Cohen 饰）、儿子Nicholas（柯蒂·斯密特-麦菲 Kodi Smit-McPhee 饰）的关系。
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阿方索·卡隆
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本剧改编自蕾妮·奈特的同名小说。 著名记者Catherine Ravenscroft（凯特·布兰切特 Cate Blanchett 饰）因揭露他人的不端行为而声名鹊张一山鹿鼎记演员表起。在收到一位不知名作者的小说后，她惊恐地发现自己就是书中的主角，而这个故事揭露了自己最黑暗的秘密。 在Catherine争分夺秒揭开作者真实身份的过程中，她不得不直面过去，以免它毁掉自己的生活，毁掉自己与丈夫Robert（萨莎·拜伦·科恩 Sacha Baron Cohen 饰）、儿男人四十 王志文子Nicholas（柯蒂·斯密特-麦菲 Kodi Smit-McPhee 饰）的关系。
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Frank Pérez-Garland
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A single mother and the man who has not been able to forget her since she was 23 years old. A woman who yearns to be a mother and a single father in her fifties who only thinks about her. A discouraged man who starts dating a driver who gives love advice on the radio. And a mature woman who comes from Miami looking for new experiences. A crazy and funny musical comedy where the characters will discover that it is never too late to be crazy again of love.
