索多瑪執政官
別名: El consul de Sodoma Jaime Gil de Biedma(豪爾迪 middot;莫利亞飾),西班牙加泰羅尼亞詩人,20世紀50年代西班牙文壇最重要的作家之一。1929年11月13日,他出生在巴塞羅那的一個貴族家庭。他的詩歌創作曾受艾略特和波特萊爾影響,早年作為共產主義同情者,他關注社會問題,用詩歌對西班牙的專政進行過強烈的抨擊。 1959年春,海梅來到菲律賓馬尼拉,接手他父親在煙草公司工作。這時,他便有了強烈的同性戀傾向,開始了他充滿矛盾的人生。 作為一位上流社會的紳士,尤其是一位跨國公司的總裁,他沒有掩藏他的性意向,并且在他的詩歌里還公開顯露。同性戀在當時非常保守的社會環境下,是個不得人心的產物,因此,海梅的生活遭到人們的唾棄;加之他有西班牙某組織員的嫌疑,佛朗哥政權沒有一刻地停止對他的威脅。這更加激發了海梅的創作熱情,他揭露資本主義制度下勞動人民的苦難、佛朗哥政權對婦女的歧視和壓迫來批判資產階級的虛偽的詩歌,一度深受歡迎;但他以同性戀為題的詩歌又幫助了同性戀現象而使之恢復了生氣。 海梅的雙性戀生活被淹沒在家庭、愛情、性、文學和政治斗爭的漩渦中。一方面,他致力于詩歌揭示加泰羅尼亞地區暴力和叛亂根源的同時,還要維護大資產階級家庭利益和名譽;再者,他始終保持著一種令人興奮的生活,他需要文學界的友誼和活躍的性生活,不管是男人還是女人,并把他的生活和幻想變化成充滿色情的詩句...... 1990年1月8日,海梅死于愛滋病。其實,早在他去世前十幾年,無論是絕望于爭取佛朗哥政權民主過渡的政治斗爭,或是變成了一個無法逃脫而順從資產階級冷漠、失去生活目標的虛無主義者,還是沉浸在個人私欲的放縱中,海梅已有意識地停止了他的文學創作。
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致我們終將逝去的青春
楊子姍,趙又廷,韓庚,江疏影,劉雅瑟,張瑤,包貝爾,鄭愷,王佳佳,黃宥明,佟麗婭,孫瑋,王森,黃小蕾,楊瀾,宮哲,崔文璐,韓紅,潘虹,李大光,馬小寧,郝姍姍18歲的鄭微(楊子姍 飾)終于如愿考上青梅竹馬鄰家大哥哥林靜(韓庚 飾)所在學校的鄰校,等她滿懷期冀地步入大學校園,卻遭遇打擊——林靜出國留學,杳無音信。鄭微倍感失落,患難時刻與室友阮莞(江疏影 飾)、朱小北(劉雅瑟 飾)、黎維娟(張瑤 飾)及師哥老張-張開(包貝爾 飾)結 下深厚友誼,同時富家公子許開陽(鄭愷 飾)對鄭微展開了瘋狂的追求,而備受男生歡迎的阮莞用她特有的清冷守護著對于心愛人趙世永(黃明 飾)的忠貞。一次偶然的誤會使鄭微與老張室友陳孝正(趙又廷 飾)結為死敵,在一次次地反擊中,鄭微發現自己愛上了這個表面冷酷、內心善良的高材生,于是瘋狂地反擊演變為死纏爛打地追求,而陳孝正也終于在強攻之下繳械投降,歡喜冤家終成甜蜜戀人。大四畢業之際鄭微的生活再次經受考驗:陳孝正得到曾毓(王嘉佳 飾)的出國留學名額,卻遲遲不敢告訴鄭微,感覺再次被欺騙的鄭微痛苦地離開陳孝正…… 多年后,鄭微已蛻變為職場上的白領麗人,竟再次品嘗命運的無常:帶著悔意和愛意的林靜和陳孝正同時回到她的生活里!鄭微,這個昔日的玉面小飛龍,將怎樣面對生活和青春賜予她的迷霧和抉擇…… 本片改編自辛夷塢同名暢銷小說。趙薇的首部導演作品,也是其在北京電影學院導演系研究生專業的畢業作品。
父母姐弟
凱特·布蘭切特,亞當·德賴弗,夏洛特·蘭普林,薇姬·克里普斯,湯姆·威茲,莎拉·格林,弗朗索瓦茲·勒布倫,茵蒂婭·摩爾,盧卡·薩巴,馬伊姆·拜力克疏離多年的手足被迫重逢,直面未解的心結,重新審視與情感疏離的父母之間緊張的關系。
沉默的艦隊2
大澤隆夫在酷寒的北方海域,核潛艇大和號伴隨著莫扎特的旋律,開始了駛向紐約聯合國總部的深海航程。在美俄交界的白令海峽,一艘性能全面碾壓大和號的美國核潛艇正悄然逼近。此刻,寒冷的北冰洋上,碎裂的浮冰之間,一場激戰就此拉開帷幕。
從前有位國王
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心靈與智慧
德懷特·戴維·艾森豪威爾,William Marshall,喬治·皮杜爾本片是由哥倫比亞電影公司出資委任電視紀錄片導演皮特?戴維斯(Peter Davis)拍攝的一部探討美國為何在1959-1975年期間發動對越戰爭,越南人民的悲慘遭遇,以及美國人民對越戰態度轉變的紀錄片。這是美國本土首次放映直接采訪刻畫越南平民慘境的影片,片中多次表現了美軍將領的種族主義和美國政府對國內人民的無恥欺騙。電影于1974年在法國嘎納電影節首映,隨即便因內容的嚴重爭議性被哥倫比亞公司擱置。制片人波特?施耐德(Bert Schneider)與亨利?蘭格(Henry Lange)向哥倫比亞公司買回了版權,并終于1975年通過華納公司在美國公映。本片獲1974年奧斯卡最佳紀錄片獎,并被提名同年金球獎最佳紀錄片。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.