Haupt
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AnExtremistgrouptravelsbackintimetoassassinateChristbeforetheCrucifixion.Thefateoftheworldnowdependsonageniuswithnofaith...andamanwhohaslosthis.
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法加·努格鲁斯
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Wulan,asupermarketemployee,isabandonedbyherirresponsibleboyfriendafterfindingoutaboutherearlypregnancy.Wulanneedstotakeresponsibilityforherselfandherunbornchild.Wulan'sdesperationleadsherto“SupportPregnancy”onlinegroupthatclaimsasapro-lifevolunteer.ThegroupintroducesWulantothewealthySantosofamilywhowantedtoadoptherunborn...
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Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen. Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan... Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don. The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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彼得·叶茨
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A man is framed by two corrupt cops for drugs. After he gets out of prison, he comes after them.
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Centaur lives a modest life with his family in rural Kyrgyzstan until he abruptly becomes the center of attention when he is caught stealing a racehorse at night. A story inspired by the myth when horses became the wings of men.
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Ayoungjuniorhockeyplayerslifeisshatteredbyanin-gameactofviolence.Inaninstanthislifeisabruptlyturnedupsidedown;tornfromthefraternityoftheteamandthecoincidingpositionofprominence,heiscastasapariahandostracizedfromthecommunity.Ashestruggleswiththerepercussionsoftheevent,desperatetofindameansofreconciliationandasenseofidentity,hispersonaljourneyendsupilluminatingtroublingsystemicissuesaroundviolence.
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阿莫尔·古普特
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斯坦利是个活泼开朗，招人喜欢的小男孩。多才多艺，古灵精怪的他在学校有着不错的人缘。但斯坦利有个最大的特点，那就是他从来不带便当来学校。午休的时候他总是以各种借口避开同学们的午餐时间，去街上闲逛打发时间，饥肠辘辘的喝凉水来饱腹。他编织着各种理由来应对伙伴们对此的疑问，而乐于助人的同学们决定和斯坦利分享自己的午餐便当来帮助他渡过难关。然而学校的大魔头卡多老师也是个从不带盒饭的家伙，因为斯坦利的缘故他无法分享学生们带来的美味午饭，勃然大怒的他，破口大骂羞辱斯坦利一番后，更是勒令斯坦利不带便当就不可以来学校。令人吃惊的是，斯坦利果然很多天都没有再出现在学校，随着时间一天天的过去，大家都越来越担心他，对卡多老师的不满之情也越发高涨。其实，斯坦利不带便当是有着他不愿意与人诉说的苦衷…斯坦利（帕索·古普特饰）是孟买圣家学校的四年级学生，在朋友中很受欢迎。他才华横溢，深受同龄人的喜爱。英语老师罗西女士（迪维亚·杜塔饰）对他的创造力、机智和幽默印象特别深刻。在电影的开场场景中，斯坦利的脸被打伤了。在罗西女士询问此事时，他精心编造了一个故事，这让罗西女士觉得很有趣。他幽默的文章和即兴的诗歌朗诵使他成为她在课堂上最喜欢的人。然而，他的想象力并不总是得到回报。他的科学老师（迪维亚·贾格代尔饰）斥责他在课堂项目中建造一座灯塔的尝试，因为它不符合课堂所涵盖的主题。很早就表明，与其他同学不同，他不会带午餐盒或“ dabba ”去学校。维尔玛（阿莫勒·古普特 Amole Gupte饰）是一位贪婪的印地语老师；一个贪吃狂，他也不带自己的达巴，却贪图别人的达巴，有时还会偷食物。学校里的孩子们昵称他为“Khadoos”（脾气暴躁的人）。他在同龄人中因不加思考和不顾及他人的暴饮暴食而名声不佳。他特别关注斯坦利的一位朋友的达巴，午餐铃声一响，他就无耻地加入课堂，狼吞虎咽地吃东西。他的大部分课堂时间都花在讨论学生午餐带了什么。有一天，他在午休时间迟到了，错过了原本想从孩子们的达巴那里吃到的东西。在意识到问题食物是与斯坦利分享后，卡杜斯斥责他没有得到自己的达巴。斯坦利察觉到卡杜斯对他的敌意，此后就不再吃朋友们的达巴饭菜，而是每天午休时告诉他们，他要回家享用母亲准备的热饭。不久之后，当他的朋友发现他午休时间在学校闲逛时，他们就识破了他的虚张声势。当面对时，斯坦利告诉他们，在他的父母从德里回来之前，没有人为他做饭。为了帮助饥饿的朋友摆脱困境，斯坦利的朋友们开始在午休时间躲避卡杜斯，同时与斯坦利分享他们的达巴。懊恼，卡杜斯每天午休时间就开始艰苦地寻找它们。他最终在露台上抓住了他们，拖着空荡荡的达巴。当意识到这群人再次与斯坦利分享午餐时，他威胁斯坦利要么带上他自己的达巴，要么停止来学校。斯坦利答应了，不再来学校了。这时，斯坦利的朋友们得知有一场校际音乐会，他们认为斯坦利非常适合参加。然而，由于卡杜斯禁止他上学，斯坦利仍然对自己的机会持怀疑态度。他开始偷偷参加音乐会的练习，并开始自学舞步和歌词。不久之后，音乐会的组织者之一发现他正在练习。他的才华得到了认可，立即被纳入剧团。与此同时，他的老师和朋友们也感受到了斯坦利的缺席，他们最终向罗西女士透露了他缺席的原因。罗西女士感到震惊和厌恶，当着其他工作人员的面与卡杜斯对峙，要求他“感到羞耻”，因为斯坦利“只是个孩子”。卡杜斯开始意识到自己的愚蠢行为。有一天，斯坦利带着他自己的爸爸来学校。他把它放在盘子里送给卡杜斯，并请求他允许他返回学校。卡杜斯感到内疚和羞愧，辞去了职务。他在一封手写信中向斯坦利道歉，并承诺永远不会回来。与此同时，圣家全员参加校际音乐会，大家都很欣赏斯坦利的表演。音乐会结束后，罗西女士向斯坦利表示祝贺，并送他回家。然而，他拒绝说他的母亲正在车里等他。学校校长（拉胡尔·辛格饰）后来把斯坦利送回家，我们意识到那不是“家”，而是他工作的餐厅。斯坦利是一个孤儿，经常受到餐厅老板（他自己的叔叔——沙尚克·申德）的身体虐待。），让他受了重伤。他因为斯坦利一天大部分时间都没有上班而打了斯坦利的脸。餐厅的厨师阿克拉姆同情斯坦利，并承诺每天在他叔叔不知情的情况下，将餐厅的剩菜打包进他的“达巴”里。斯坦利和阿克拉姆留下来清理这个地方过夜。这一幕以斯坦利睡觉前在他父母的照片旁边点燃一支蜡烛结束。第二天，斯坦利带着自己的达巴来到学校，与大家分享，同时向他们讲述他母亲如何准备一切的细节。
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奥利弗·赫曼纽斯
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BasedonAndréCarlvanderMerwe’sbook,Moffie(aderogatoryAfrikaanstermforagayman)followsthestoryofNicholasvanderSwart:fromaveryyoungage,herealisesheisdifferent.Tryashemay,hecannotliveuptothemachoimageexpectedofhimbyhisfamily,byhisheritage.Attheageof19heisconscriptedintotheSouthAfricanarmyandfindshiseverysensibilityoffendedbyasystemclosetoitsdemise,andyetstillinfullforce.SetduringtheSouthAfricanborderwaragainstcommunism,thisisalongoverduestoryabouttheemotionalandphysicalsufferingenduredbycountlessyoungmen.
