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越来越好之村晚  HD中字

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2011 大陆
双凤奇缘
王艺曈李源丰孟醒
  贺岁档已经来临,各类影片扎堆上映,而由东方飞云国际影视出品,王艺曈、李源丰、孟醒等联袂主演的电视电影《双凤奇缘》,即将于12月2日在辽宁卫视进行首播,也将奏响2012年影视剧开篇,该片通过一对失散多年的孪生姐妹,讲述一段奇妙多变的人生之旅。  “双凤”露端倪 王艺曈一人演绎姐妹淘  《双凤奇缘》讲述了王艺曈饰演的两个角色沈心柔和李阿凤是一对从小失散的孪生姐妹。长大后,温柔文静的心柔和活泼泼辣的阿凤在一次机缘巧合之下交换了命运,心柔代替阿凤成为了上海滩第一个女性帮派的领袖,而阿凤却代替心柔当上了沈家大小姐,收拾了骄阳跋扈继母和妹妹……  王艺曈在片中挑战性格迥异的两个女子,一人分饰两角,分别是温柔的大家闺秀沈心柔,和泼辣的李阿凤,王艺曈游走在两个人物之间,有时会“晕头转向”,两姐妹棱角分明,性格相差巨大,有着天壤之别,对王艺曈演技有着不小的考验。  豪门女人“争夺”真爱 两段缠绵爱情将何去何从  《双凤奇缘》剧情涉及黑帮斗争,豪门女人争宠等多重戏剧元素,故事虽然发生在民国年间,但趣味横生的姐妹情缘贯穿全片。王艺曈饰演的角色分别与片中两位男演员产生两段缠绵爱情,“双凤”的出现,也成功造就了片中两个完全不同的男人角色,王艺曈将如何演绎这两段爱情,敬请在片中寻求答案吧!来源千龙娱乐…
HD
1956 其他
穿越巴黎
让·迦本布尔维尔路易·德·菲奈斯
  二战期间,纳粹开进了法国,巴黎成了被占领区,物资紧张,出现了黑市交易。  一天晚上,宵禁前,一对夫妇来到了小酒馆,之后又来了一位中年壮男;丈夫嫉妒妻子与中年壮男搭讪,于是打了妻子的耳光,妻子离去,所有的人都沉默。当中年壮男准备离开时,却被丈夫拦住了,丈夫请他吃晚饭。  晚饭时,所有的人都在怀念有猪肉的日子——对话很有趣,却也伤感。丈夫得知中年壮男是一名油漆匠的时候——法语的油漆匠与油画家是同一个单词,这也就是误会出现的原因,就向他交了底,说自己是走私猪肉的,需要找一位同伴帮忙,主要工作是在宵禁期间,从巴黎的一端用行李箱转移猪肉到另一端,为次日的黑市交易做准备。‘油漆匠’很感兴趣,两人达成共识。  两人来到Louis的店里搬猪肉,中年壮男突然发飙,要求Louis付“遮口费”,否则就叫警察,他采取的手段是系列的,且极其流氓(指意识形态)的。所有的人都被他打败了,Louis赶快掏钱送瘟神,两人继而开始了精彩的穿越巴黎之行。  第21届威尼斯国际电影节(1956)  沃尔皮杯-最佳男演员  布尔维尔  第21届威尼斯国际电影节(1956)  金狮奖(入围)  克劳特·乌当-拉哈  第11届英国电影和电视艺术学院奖(1958)  电影奖-最佳外国男演员(提名)  让·迦本…
DVD
2010 其他
O somma luce
GiorgioPasserone
  转自:http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub  “The end of paradise on earth.”—Jean-Marie Straub  The 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.  “O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.  In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.  So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.  During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.  The mise en scène of what words exactly?  The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.  Is “Straubie” Greece?  This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich…
HD

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