Bo
搜索"Bo" ，找到 2778部影视作品
导演：
/
艾莉森·巴格纳尔
剧情：
Reeling from her husband's affair, Rose collides with a marooned teenager in a boarded-up Delaware beach town. Devastated by the news of her husband's affair and convulsed by waves of grief and rage, twenty something Rose (Greta Gerwig)-vengeful, a bit unhinged, and still clad in her pajama bottoms-drives to a sleepy seaside town in Delaware intent on finding her spouse's lover. Climbing into an old lighthouse on the beach to swill a six-pack of beer, Rose stumbles upon a sleeping British teenager (Olly Alexander) whom she wakes and insists on taking somewhere. Stranded by some unknown party, the chatty, ludicrously attired youth accompanies Rose to a brewery where "the other woman" was recently employed and then to her parents' summer getaway house, slowly attuning to her anguish. As the grey winter days roll by, the mismatched pair embark on a series of frolicsome adventures-English dance lessons, role-playing in public-that bring them into closer quarters, igniting a bittersweet, perhaps imaginary romance. This quirky romantic comedy follows Rose (Greta Gerwig), whose life changes after discovering her husband s affair. She later crosses paths with a marooned teenager in a boarded-up Delaware beach town and begins a delicate friendship. This engaging and insightful film will make audiences appreciate change for better and worse.
导演：
/
苏·霍顿
主演：
剧情：
蓝鲸（学名：Balaenoptera musculus）是一种海洋哺乳动物，属於鬚鲸亚目。蓝鲸被认为是地球上曾经生存过体型最大的动物，长可达33公尺，重达181吨。 蓝鲸的身躯瘦长，背部是青灰色的，不过在水中看起来有时颜色会比较淡。 目前已知蓝鲸至少有三个亚种：生活在北大西洋和北太平洋的B. m. musculus；栖息在南冰洋的B. m. intermedia与印度洋和南太平洋的B. m. brevicauda（也称侏儒蓝鲸）。在印度洋发现的B. m. indica则可能是另一个亚种。与其他鬚鲸一样，蓝鲸主要以小型的甲壳类（例如磷虾）与小型鱼类为食，有时也包括魷鱼。 直到20世纪初，在世界上几乎每一个海域中，蓝鲸的数量是相当多的。在超过40年后，捕鲸者的猎杀使牠们几乎灭绝。直到国际社会在1966年开始保育蓝鲸后，蓝鲸的数量才逐渐上升。一份2002年的报告估计目前世界上蓝鲸的数量在5,000至12,000隻之间，并分佈在至少5个族群中。最近对於侏儒蓝鲸的研究显示这个数字可能是低估了实际的数量。在捕鲸活动开始前，蓝鲸最大的族群是在南极海域，估计大约有239,000隻（范围介於202,000与 311,000之间)。目前在东北太平洋、南极海与印度洋的数量已经比以前要减少非常多（大约各只有2,000隻）。在北大西洋则有2个更大的集团，在南半球至少也有2个集团。
导演：
/
Guillermo Carbonell,Ben Deka,Julien Deka,Hervé Freiburger,Laura Kulik,Filipe Melo,Juan Montes de Oca
主演：
剧情：
A boy is haunted by terrifying nightmares where a monster lurks inside the closet. To his relief, his father appears in the middle of the night helping him to face his fears. But the boy will begin to question the true nature of these apparitions, having to face the truth about his father's destiny and the evil force that threatens to consume him.
导演：
/
玛雅·德雷弗斯
主演：
剧情：
Far from Tel Aviv and big city crimes, Daphna, 40, a promising police officer with a big mouth, finds herself in the small town of Afula dealing with petty crimes, seeking shade from the scorching heat, taking care of her aggressive cat, but more importantly, dodging the nagging question:" When are you going to get married, and have children?". The disappearance of Orly Elimeleh, a beautiful and wild 36 year-old army widow and former beauty queen, soon raises another troubling question for Daphna - why isn't anybody looking for her? This indifference towards Orly's uncertain fate shakes Daphna to the core as she begins to identify with her and to suspect the worst. Her concern gradually consumes her life, blurs her reality and causes her to question whether she is just imagining things, or is she on the contrary, the only one seeing things clearly. Matan, the younger 34 year-old son and "black sheep" of the powerful Oheyon's, Orly's late husband's family, seems to be the only one who ...
导演：
/
Alexander Kluge
主演：
剧情：
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.
