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Josh Brand
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在一辆孤独的灰狗巴士上，两个带着一模一样黑色旅行包的女人偶然相遇。这一巧合引发了一场致命的猫捉老鼠游戏，其中一人发现她与一名杀手交换了包，而他们的相遇可能并非偶然。在这部电影的开场白中,我们看到了一位孕妇,苔丝,正在收集必要的药物。然后,她前往汽车站,在登机前将行李装进储藏室。另一个女人,突然想出了一个一模一样的袋子,板子,坐在苔丝旁边.她介绍自己是莎拉。当苔丝到达终点站时,萨拉睡着了。她拿起她的包,回到她的遥远的房子。就在她打开袋子的时候,门铃响了...萨拉说他们的行李被换了。当苔丝去拿袋子的时候,袋子打开了,她看到里面有令人震惊的东西。..一些暗示莎拉可能非常危险的东西。她把它合上,还了回去,但很明显,萨拉知道苔丝已经看到了里面的东西。莎拉开始解释事情,但她说的话能被相信吗?当我开始看这个节目的时候,我真不知道该期待什么,一开始我就期待着失望。开幕式的场景暗示,"邪恶"的萨拉犯了一个没有逻辑意义的错误,这是过于戏剧性的。..也就是说把东西放在箱子里。然而,随着故事的发展,它开始变得更有趣,不太可能的细节被解释。在结局结束前有一些好的曲折,我直到接近尾声时才预测到。这部影片几乎完全由两位女主角奥莱莎·鲁林和劳拉·范德沃尔特分别拍摄,给苔丝和萨拉留下了深刻的印象。行动比人们想象的要少,但仍然存在大量的紧张。总的来说,这是一部足够坚实的心理惊愕片,我推荐给这类电影的粉丝,只要90分钟就可以了。
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Joaquin Montalvan
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In a decaying America, 20 years after an apocalyptic event, Pike leads Ruby, Slim, Scar, and Boots through the wasteland towards the town of Jawbone in hopes of finding shelter, and to confront the evil Magistrate. But will they make it to Jawbone? And what will they find when they get there?
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阿尔·沃伦
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Dogleg follows amateur director Alan, played by Warren, after he loses his fiance's dog at a gender reveal party on the day of an important shoot. As he struggles to finish his latest project with the help of a New York critic, the pursuit of the lost dog and the chaos of his film begin to blend and Alan grows desperate for the day to be over.
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达勒姆·哈里森
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圣诞节前五天，Xander Point 的人们对于他们传奇的灯塔是否继续运营意见不一。市长詹姆斯告诉深受爱戴的看护人伊恩牧师和他的治疗师妻子科琳，市议会投票决定拆除这座地标建筑，建造现代化的住所，以吸引更多游客来到这个海滨小镇。当科琳准备在灯塔度过她的最后一个圣诞节时，她最好的朋友布里回家过节。她对与科尔顿的订婚感到不安，仍在哀悼失去她的真爱雅各布，她认为雅各布在几年前的战斗中阵亡了。她不知道，雅各布还活着，在镇上寻求科琳的指导，科琳想出了一个让两人走到一起的无辜计划。与此同时，在圣诞前夕，市长詹姆斯的小儿子在被学校的孩子们欺负后，独自乘着父亲的船出海，担心在海上迷路了。灯塔能否在圣诞节期间再次让 Xander Point 的家庭团聚，并免遭毁灭。
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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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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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伊恩·邦霍特,皮特·艾德盖
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前所未见的家庭影片和非凡的个人档案揭示了克里斯托弗·里夫是如何从默默无闻的演员成为终极银幕超级英雄的标志性电影明星的。 克里斯托弗·里夫在一次悲惨事故中四肢瘫痪，只能依靠呼吸机呼吸，此后他作为一名活动家领悟到了英雄主义的真谛。 电影制作人伊恩·邦霍特（Ian Bonhôte）和彼得·埃特迪吉（Peter Ettedgui）巧妙地将时间前后推移，编织出双重叙事，探讨了克里斯托弗·里夫职业生涯中两个关键时刻对人生的改变：1978年出演《超人》和1995年瘫痪。 在超级英雄席卷影院的几十年前，里夫让世界相信人类可以飞翔；他的意外事故让全世界关注残疾。 在《超/人》中，里夫的亲友对事故前后的生活的反应非常真诚。 这部影片深深地打动了观众，突出了超人背后的那个人——这不是一部传记，而是一幅完整的肖像，涵盖了里夫人生旅途中的辉煌和黑暗。
