主演:大卫·亚历山大·谢侯,乔纳斯·斯特兰德·格利,赫尔曼·蒂美拉斯,泰瑞莎·弗斯塔德·艾格斯珀,西诺薇·玛考迪·伦德,亨利特·斯蒂恩斯特鲁普,Jeppe,Beck,Laursen,Emma,Bones,吉斯利·厄恩·加达松,Tani,Dibasey,Kornelia,Eline,Skogseth,奥德-马格努斯·威廉森,Eli,Anne,Linnestad,Danu,Sunth,Karoline,Petronella,Ulfsdatter,Schau,比约恩·桑德奎斯特,丽娜·文洛,伊尔瓦·比约卡斯,凯瑞·豪
导演:
故事讲述在虚构的小镇埃达,年龄不断增长的人们被迫应对气候变化。冰盖正在以前所未有的速度融化。人们经历了长期的干旱,冬天太暖和了。人们越来越频繁地经历极端的寒冷发作。无论如何,极端天气条件。世界在变化,有些人可能声称我们正朝着新的仙境传说而去。除非有人及时介入。
主演:靳东,蒋欣,李宗翰,李乃文,左小青,赵子琪,傅晶,陈冰,宋允皓,王梓权,高照清雅,牛莉,王一楠,王丽云,刘威,吴冕,李强,李泰,柯南·何裴,蒋君,王策,彭婧,常波,翟曜,怀宝鑫,李峰,张尔涵,周乐,孔令君,丹尼,少帅,张琦,茹常虎,宁小花,史磊,郑舒环,张芝之,冯天骏,姚兵,刘巍,孙乐天,张弛,郑小毛,孙燕燕,单宝中,于军,舒宇歌,杨硕,李国玺,易上歆,冯鼎儿,王豆豆,OsadchayaTatiana,SOPHIACLAIREDIB,NormanMOEL,KlishinSergei,Nayi
导演:
主演:约翰·亚伯拉罕,娜吉丝·法克利,Rashi,Khanna,Ajay,Ratnam,Siddartha,Basu,Agnello,Dias,Prakash,Belawadi,Dibang
导演:
导演舒吉特·瑟加(Shoojit Sircar)的新片《谍战马德拉斯/悍战谍影》(Madras Cafe)是一部关于印度情报部门特工的影片,背景设置于80年代末90年代初。就在印度和平力量撤退之后,某特工被派去斯里兰卡,执行秘密破坏内战反动势力的任务。深陷混战与政治阴谋之中,他遇到了一名英国记者,并化解了一场刺杀行动。本片由摄影师卡玛里吉·耐基(Kamaljeet Negi)使用ALEXA拍摄。拍摄地包括马来西亚、泰国、伦敦和印度。最近耐基接受了ARRI的专访,分享了他的拍摄经验。
主演:Karyna,Khymchuk,Maksim,Mikhaylichenko,Natalia,Lazebnikova,Oleksandr,Zhyla,Darya,Palagnyuk,Andrey,Shabanov,Natalia,Dibrova,Vasyl,Nevolov,Niko,Lapunov,Olga,Armosar,Daniil,Moiseyev,Illya,Rybalko,Stanislav,Moiseiev,Viktor,Kuts,Daria,Bilotsekovets,Evgen,Bushma
导演:
One has to be brave enough to accept loosing old self for the sake of growing up. Kira becomes adult briskly, watching her family and soviet childhood smashing into pieces. So does Ukraine in the early 90th, launching painful process of transformation into an independent country.
主演:阿米特·西亚尔,Dibyendu,Bhattacharya,Aksha,Pardasany,Sparsh,Shrivastav,Monika,Panwar,Anshuman,Pushkar,Sarfaraz,Ali,Mirza,Kartavya,Kabra,Rohit,Kp,Harshid,Gupta,Aatm,Prakash,Mishra,Udit,Arora,Vishwa,Bhanu,Shruti,Bhattacharya,Ravi,Sah
导演:
主演:Ahmed,Awadalla,Nadim,Bahsoun,Hassan,Dib,Ahmed,El,Gendy,Richard,Gabriel,Gersch,Donia,Massoud,Selim,Mourad,Salim,Mrad
导演:
A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”
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