Lindig
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根据Indigo的小说"ใส่รักป้ายสี"改编当一个年轻的艺术家"Paab",不得不面对一个贪婪的婚礼策划人"Maze",故事不会轻易结束;因为他无意中成为了另一方的雇员,以清偿累计的债务。天空和大地可能太小,无法比拟;他们像地狱和天堂,月亮和太阳一样不同。Paab,一个愚蠢的画家,一个负债累累的人,直到他的身体几乎被埋在地里。Maze,一个满嘴脏话的婚礼策划人,把钱看的比任何一切都重要。由于某些不幸的事,Paab不得不无意中为他工作以偿还债务。对Maze来说,做这份工作没人知道谁比谁更累;他累得身体都快扛不住了,但由于受到对方的打扰而精疲力尽,难以忍受。他们将如何描绘这种爱情,谁会先用爱来描绘?
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布雷特·安德森
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西蒙·吉尔伯特
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马特·奥斯曼
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理查德·奥克斯
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尼尔·柯德林
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Justin Frischmann
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Mike Joyce
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瑞奇·热维斯
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Richard Osman
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Alan Fisher
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Stuart Maconie
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Suede's arrival in British music in the 1990s was a phenomenon. Fated as 'The Best New Band in Britain' before they had even released a single, their debut album was the biggest selling for a generation and their emergence and dominance heralded Britpop. Made with full access to the band and their unexpurgated, incredible archive, Suede: The Insatiable Ones is documentary-feature that tells their story with brutal honesty, humour and dignity. Pulling no punches, the film eschews a linear form for a themed journey through Suede's intense career, and its creative and personal highs and lows. Through five chapters it explores: their roots and identity; the rush of success and immediate, infamous internal power struggle and schism, which few thought they could survive; the subsequent commercial apogee and significant international success; the resultant excess and substance abuse; their 'slow painful death' and split; and - ultimately - their recent, brilliant, acclaimed artistic rebirth. Frontman Brett Anderson and the band are joined by a wonderful cast that includes founder member of Suede and Elastica, Justine Frischmann, Suede's early manager Ricky Gervais, early Suede drummer and ex-Smith Mike Joyce, alongside friends, family and collaborators including Richard Osman, iconic designer Peter Saville, and others.
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米乔·洛加尔斯基
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约纳斯·奈伊
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菲利普·皮特洛维奇
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格瑞迪·京特
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斯特芬·施曼
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安德烈·赫尼克
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Urszula Bogucka
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Maria Semotiuk
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巴特罗米耶·托帕
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阿格涅兹卡·克鲁科沃娜
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克里斯托夫·切佐特
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Juliusz Krzysztof Warunek
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Konstanty Zadworny
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Michael Jokisch
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Rainer Förster
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约亨·森夫
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达米安·乌尔
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亚当·斯齐斯科斯基
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亚瑟·克拉杰夫斯基
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Im Sommer 1943 - ist Ostpolen von Deutschland besetzt, die Sicherheitspolizei für die Kontrolle der polnischen Bevölkerung zuständig. Vier Teenager erleben die Grausamkeiten des Krieges – und die Schönheit zwischenmenschlicher Gefühle. Romek (Filip Piotrowicz), Heizer auf einer Rangierlok, möchte Lokomotivführer werden. Und er möchte Franka (Urszula Bogucka) für sich gewinnen, die als Küchenhilfe im deutschen Gendarmerieposten arbeitet. Franka wiederum ist in den jungen Deutschen Guido (Jonas Nay) verliebt. Er wurde wegen des Hörens entarteter Musik in das polnische Dorf strafversetzt und hat nun die Aufgabe, die Bahnstrecke zu sichern sowie Flüchtlinge und Partisanen aufzuspüren. Der Krieg ist weit weg, solange Romek, Franka und Guido zu dritt sind. Doch dann findet Romek die verletzte Bunia (Maria Semotiuk), eine Jüdin. Er beschließt, dem Mädchen zu helfen…
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Awealthyrais(aheadoflocaladministrationinTadzhikistan)buildshistoiletrightnexttothehouseofateacherinthevillage.Thearomasofthetoiletdisturbthelifeoftheteacher’sfamily;itisveryupsettingforthem.ButtheraisisalsoanewTadzhik(newmoney)andignoresthecomplaints.Moreover,everytimehevisitsthetoilet,heshamelesslystaresattheteacher’syoungwifeoverthefence.However,thepoweroftheraisissogreatthatnobodydarestoopposehim.Theteacherbuyscheaplyahomerightinfrontoftherais’shousefromanoldmananddecidestobuildapublictoiletthere.Itseemsthattheeraoffairytalesandlegendshasvanishedanditisnotpossibletomakefilm-parables.However,JamshedUsmonovcreatesfilm-parables.Ineveryoneofhisfilmsthereisacharactertellingalegendthatturnsthemeaningofthefilmallaround.InFlightoftheBeeitisataleaboutabee,whichsavedthelifeofanarmy:Onceuponatimeitwasacustomtokilloldpeoplewhoreachedacertainage.ButoneofthesoldiersofAlexandertheGreatdidn’thavethehearttokillhisfather.Hehidhiminhistravelingtrunkandcarrieditonhisbackduringmarches.Thearmycametoadesertandthewarriorsstartedtodiefromthirst.Nobodyknewhowtofindwater.Thefathersaidtohisson:Catchabee,tieawhitethreadtoitslegandfollowit.Itwilltakeyoutowater.Theyfoundwaterandthearmywassaved.Afterthatoldpeopleweresparedbecauseeverybodyrecognizedthemasasourceofwisdom.Thevillageteachertellsthisstorytohisstudentsatthebeginningofthefilm.ItisinterestingtonotehowinthefilmFlightoftheBeedifferentmentalitiesintermingledandco-existed.TheteacheristypicaloftheSovietintelligentsia:hewritesbooksthatnobodypublishes;helooksforjusticefromthegovernmentthathasneverbeenfairtohim.ThesurroundingsofthevillagearestillSoviet:theraishasLenin’sportraitinhisoffice;youngpeopleareidleanddrunkastheyalwayswereduringtheSovietera.Thenewcapitalists,thenewTadzhiksinthevillage,donotweardesignerjacketsanddonottalkoncellphones.Thenewmoneyispresentedinthecharacteroftherais.Ithasalmostafeudalquality;itisthepowerofalocallord.JamshedUsmonovhasauniquetalenttobalancethefunnyandserious,thesimpleandcomplicated.He,likenobodyelse,sensesthisborder,whereasimplestoryturnsintoaparableandfilmcharactersstandoutasarchetypesofdifferentperiodssettogetherinthegapoftimes.(kinokultura/GULNARAABIKEEVA)
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广濑贵士
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Constantlyonthehuntandsufferingfromhallucinationsthatdrivehisviolentnature,anunnamedmaniscapturingwomenandsavagelybeatingthemtodeath.Meanwhile,awomanisluringmenintoaviolentend,bywayofherknife.Drivenbythesameforcetomaketheoppositesexsuffer,thekillers’fatesintertwine.Thetwomustfaceoffinabattletothedeath,inwhichtheyareforcedtorevealthehorribletruthbehindtheiraddictiontomurder.“Brutal”takesaninterestingapproachtoitsvisuals,drawingheavyinfluencefromWestern“Grindhouse”films,usingafiltertomakethefootageappeargrainy,damaged,andwithlightandcolorfluctuations.Unfortunately,thevisualstylingendsupfeelingmisguided,asotherthanapplyingthefilteritdoesnotimitateanyotheraspectsofthe“Grindhouse”genre.Despitetryingtodirtyupthefilm,itisapparentitwasshotondigital.Thecinematographyisalsoastepabovemost“Grindhouse”productions,withTakashiHiroseprovinghehastalentbehindthecamera.Exteriorshotstothosetakingplaceinsmallspacesareallcompetentlyframed,lit,andtransitionwell.Thedecisiontoaddaneffectontopoftheworkhurtsthefilm’simageryandevengivesasenseofdesperationtotrytocaptureacertaintypeofnostalgiawiththeaudience,insteadofrelyingonitsownstrengths.Itisunfortunatewhenonecreativechoicecanhurtaproductionsomuch.Thestoryof“Brutal”issimplebuteffective,itdoesattemptsomesortofsocialcommentaryabouttheviolentnatureofmenandwomen,butitdoesnotofferenoughdepthintothesubjecttojustifytheamountofviolenceondisplay.Thefilmdoesendonastrongnotewithaninterestingtwist,witharevealthatisboundtogrosssomeout,whilegivingothersachuckle.Inspiteofitssimplenature,thosewhoenjoyfilmsthatmakethemsomewhatuncomfortableandenjoythechallengeofgettingthroughsomeultra-violence,“Brutal”posesafunandentertainingchallengeinthatregard.
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苏里
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Kathir works as an IT professional at Dindigul and visited his village on a holiday in order to attend his elder brother's wedding but only to realise that the wedding has been cancelled. Things take unexpected swift when relatives come to know that the woman who was engaged with the elder brother of Kathir is actually the girlfriend of Kathir.
