Lo
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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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Eloy de la Iglesia
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Sex and politics collide in this harrowing, hard-hitting tale of forbidden love, blackmail and murder. Set up by the secret police to compromise a prominent politician, a teenage hustler discovers himself passionately in love with the man he must betray. Written by Jim Stark A rising politician risks his career and his marriage when his homosexual desires are reawakened following a hospital visit. At first he's safe enough with one night stands with young rent boys chosen by a discreet hustler that he met in the hospital. But, when he falls for one of the boys he meets and starts bringing the young man into his family, the risks escalate. What he does not know is that the political opposition knows of his vice and have planted the boy.
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曼纽尔·阿布拉莫维奇
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「网黄」辣罗从不吝展示自己的性感胴体,在手机镜头前搔首弄姿,无处不见他的巨雕展翅,更经营成人社群,春光乍泄满是性爱影片。他决定更进一步,离开打工工厂,成为专职GV男优。辣罗开始与交手的男优私约拍片,在色情网络的声势逐渐水涨船高。贩卖性爱为他赚进大笔钞票,却让他的心灵逐渐崩盘。 以《蓝色的应召男郎》勇夺柏林影展最佳短片的阿根廷导演,再次关注男同志色情产业,记录当代网络色情环境与深陷其中的男体。当肉体被虚拟贩卖,真实生活是否也将迈向虚无?宛若不存在的镜头穿梭在GV片场、性爱现场与网路时空,巧妙徜徉各式私密场域间,摄影机运动神乎其技,令人大开眼界。魔幻写实的拍摄手法,与故事中呈现之虚实维度反覆交融、完美贴合,建造一座镜花水月,却又残酷锐利的酷儿性乐园。
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安东尼·希科克斯
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In a time now lost in the mists of memory, the great King Arthur rules in the legendary citadel that is Camelot. His Knights of the Round Table perform acts of derring-do and spend their spare time jousting, much to the delight of the local citizens and especially to Princess Ilene, a guest at Camelot. Watching her from afar is a young, inexperienced squire called Valiant, and when the young Welsh princess is sent home to marry Prince Arn, Valiant contrives to accompany her masquerading as Sir Gawain. Meanwhile, the evil sorceress Morgan le Fey, sister to King Arthur, has convinced the tyrannical Sligon, ruler of the Viking kingdom of Thule, that he should steal Arthur's sword, the powerful and magical Excalibur, knowing that its loss could bring about Arthur's downfall. So into the fray comes Sligon's unstable and psychotic brother Thagnar, who manages to steal the sword. Pandemonium reigns. But Valiant is having problems of his own - kidnappers attempt to steal away the Princess, and after various skirmishes, including one with a mysterious character who lives in a cave and purloins treasure, women and other things of value, Valiant manages to return the Princess to her homeland - although he also manages to have a duel with the Princess' jealous fiancé, Prince Arn. All things converge as Valiant is finally informed of his heritage by the stranger from the cave... Boltar of Thule. He informs the lad that he is Prince Valiant, rightful heir to the kingdom of Thule, and with his help, Valiant returns to the land of his birth to rightfully claim what is his.
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罗贝尔·盖迪吉昂
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在马赛老城的工人阶级社区,护士罗莎是该社区的灵魂与核心人物,同时也是一个亲密无间的大家庭的女主人。当罗莎临近退休,她周围的人都怠于政治,她因而感到万念俱灰。直到遇到亨利后,罗莎才意识到实现自己的政治与个人理想永远不会太迟。
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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.
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Adam Bhala Lough
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内详
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向涂鸦艺术和这一切开始的城市致敬。布莱斯特是一名 19 岁的涂鸦作家,刚刚高中毕业。由于对工作和家庭的主流目标没有野心,他把时间花在用涂鸦信息轰炸这座城市,直到他和他的团队成为腐败的纽约警察破坏者小队的头号通缉犯。他甚至因其标签而吸引了主要媒体和画廊的关注。 Buk 50 和他的弟弟 Lune 也是布莱斯特的成员,他们被纽约警察局逮捕并殴打,导致船员们对这座城市发动了全面的涂鸦战争。当他们用喷雾罐和标签打架时,布莱斯特遇到了政治活动家亚历山德拉。不久之后,布莱斯特思考自己的人生定位,与 Buk 50 和船员的关系破裂。