Self

Depressing,darklovedramawiththinstoryline,thatmakesyouwonderwhetherthemakersbelieveinlifeatall.Themaleprotagonistisconstantlyrunningintoproblemsandgetsbeatenuptimeandtimeagain,somuchsothatafterawhileIcouldnothelplaughing,whichcannothavebeentheintentionofthemakers:theyarevèry,vèryserious.ThecruxofthefilmseemstobeasharpcommentonthemoneydrivenGermansociety,inwhichitisimpossibletoshowanyrealaffection;ofcoursethiscouldbeadilemmaofthemakersthemselves:moneyisnottheproblem,butwhatyoudowithit.Notforgottenistoincludeanextremerightwingmanwhoseself-proclaimedpurposeinlifeitistofreethestreetofsociallyundesirableelements.Itisallveryheavysymbolismwithnorelief,butitiscertainlywell-madewithascriptthat-asthefilmprogresses-becomeslessandlesssurprising.Thetwoactingleadsaregood;finecinematography.(janonderwater)

　Nina is twelve years old and her world has just been shattered to smithereens: Her parents’ marriage has broken down and they are getting a divorce. After his internationally successful debut Miracle Juraj Lehotský now brings us an intimate drama in which the viewer looks upon the world and the selfish, visionless behaviour of adults through the eyes of a 12-year-old girl. A girl who is resilient and belligerent, but also vulnerable and just as fragile as the miniature world she creates for herself in the garden shed.

　　Marg Duffield (Lee Remick) is the Maine wife of Al (Joseph Sommer) whose daughter Peg (Marlee Matlin) is deaf. Peg's husband is killed in a car accident on the way to visit the Maine house, and the Duffield's take in Peg's six year old daughter, Lisa, while Peg recovers. Since Lisa is a speaking child, Marg thinks of her the way she wanted Peg to be, and seeks guardian custody.　　Remick's role is secondary to Matlin's, though she is presented as a tragic figure, particularly as Al refuses to help her plan to gain Lisa. Peg's deafness is said to be from a childhood case of spinal meningitis, and the teleplay by Louisa Burns-Bisogno, with story by Louisa and Tom Bisogno, reduces Remick to a textbook mother who is self-hating from guilt and therefore cannot love her own daughter. In a memorable scene, Peg angrily signs her exit to Marg, since Marg has refused to learn sign language, though Peg has learned to speak for her mother.　　The treatment uses the Tennesee Williams play, The Glass Menagerie, for therapy, to help Peg overcome her grief and also Marg `lose her unicorn horn' and embrace her daughter. Whilst Peg choosing to act in this play may seem an odd choice for someone grieving, what is more noticable is that Matlin is far too more glamourous to be believable as Laura. The Bisogno's include Michael O'Keefe as Dan, Peg's deceased husband's best friend and director of Actors Theatre for the Deaf, to offer Peg a new romantic interest, and thankfully she rebukes his protestations of love. Although his opinion may be influenced by his `crush', Dan tells Peg that being different is better than being normal, since the normal ones are as `common as weeds'. This philosophy reads as rather Nietzschean, on the level of artists not being restricted to the common moral code.　　Director Karen Arthur either has those signing also speaking or those signing being translated for the audience, though in one scene the sound of lapping waves drowns out the dialogue between Dan and Peg. She also gives Matlin some good moments, one being her scream of horror when she hears the news of the death of her husband, and another when she chases Remick down a flight of steps, hitting her.

After being exiled from Afghanistan, a former war journalist settles in a small town in northern California and takes a job with a local newspaper. But when he attempts to cover local crime, he stumbles into local corruption that puts himself and others in danger.

A brief trip back home turns into a longer stay when Eric finds himself caught between catching up with his two sisters and conquering his old poker group. The more Eric extends his visit to prove that he is still the best poker player in town, the harder it becomes to steer clear of the old fault lines in his relationship with his sister Rachel. As their little sister Maggie attempts to recreate the intimate world they once shared, Eric and Rachel are faced with the divide between their childhood selves and the adults they have now become. ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?Displaying all the sensitivity and wicked humour of his previous works, Dustin Guy Defa’s new film is a shrewd study of the pitiless condition known as adulthood. After growing up in a family unit that constitutes your whole world, with its particular set of habits and a shared language, crossing the border into the realm of adults can feel disempowering, even terrifying. A sense of loss may be difficult to ever really overcome. The film’s meticulous structure and novelistic depth lay bare this fundamental fear, but also the resources that exist to fight it. Setting about this treasure hunt deep within as individuals and as a family is an admirable trio of actors whose interpretation is as nuanced as it is poignant.

The directorial debut of Korean superstar Jung Woo-sung (The Good, The Bad, The Weird) has everything you crave in a modern thriller: hi-octane action sequences, memorable characters, and Jung himself in the leading role.

Set in the Los Angeles nightlife; "Crave The Fast Life" is raw and intense faith-crossover film that follows the rise, fall, and rebirth of a young club promoter as his crave for success takes him down a dark path of greed, betrayal and self-destruction.

ValerieTaylorisasharkfanaticandanAustralianicon–amarinemaverickwhoforgedherwayasafearlessdiver,cinematographerandconservationist.ShefilmedtherealsharksforJawsandfamouslyworeachainmailsuit,usingherselfassharkbait,changingourscientificunderstandingofsharksforever.

多數人都住在城市，但是沒多久之前，我們都來自農村。可惜的是，現代城市與鄉村已成為大相逕庭的兩個世界。有多少人了解現在的農村？又有多少人關心現代農村的艱難處境？農村不應該是都市開發的預備用地，更不是容納各種都市鄰避設施的垃圾桶。農村區域有其自主性、神聖性，是一個健全國家永續發展不可或缺的一部份。現代農村並非與都市或現代生活完全隔離，在現代的科技與產業型態下，農村如何維持其歷史、產業、空間、文化、生態、景觀等特色，卻又與時俱進，已成為全世界政府極嚴肅的課題。公共電視《農村的遠見,TheEternalFarmVillages》系列紀錄片，將帶領觀眾走入世界各地的農村典範。製作團隊造訪了德國、荷蘭、美國、日本、印尼與臺灣數個國家。藉由這些國家的農村經典典範，啟發觀眾對自己農村更多的想像，並從這些心懷遠見的農民、居民與經營者打拼的故事中，看見農村永續發展的無限可能。擁有30年紀錄片製作經驗的寶花團隊，耗時四年，透過第一手的材料、優美細膩的4K影像、溫馨的人物與劣勢突圍的故事，帶領觀眾重回我們心靈的故鄉。Mostofusnowliveincities;however,nottoolongago,mosthumanslivedinvillages.Unfortunately,moderncitiesandfarmingvillageshavebecomevastlydifferentworlds.Howwelldowereallyknowourvillagesnow?Doweevenpayattentiontothem?Villagesshouldnotberegardedasstill-to-bedevelopedcities,orwastedisposalsitesforurbanareas.Aself-regulatedfarmingvillagewithitsownsenseofvalueisindispensablefornationalsustainability.Theseparationoffarmingvillagesfromurbanormodernlifeisnotnecessaryorinevitable.Facingthechallengesofmoderntechnologyandindustry,itiscriticalforvillagestodevelopwithoutlosingtheiressentialnature.ThisPTSproductionof‘TheEternalFarmVillages’takestheviewertosomeoftheworld’smostexemplaryvillages.TheproductionteamvisitedGermany,theNetherlands,theUnitesStates,Japan,IndonesiaandTaiwan.Theinspiringvillagestheydiscoveredwillexpandourhorizons,andthestoriesofvisionaryfarmers,residentsandbusinessownersgiveusachancetoseehowsustainabilitycanbeachieved.With30yearsoffilm-makingexperience,BowwowProductionsspentfouryearsmakingthisdocumentaryseries.Combiningfirsthandmaterials,4Kresolutionfootage,charmingcharacters,andinspirationalstories,thevieweristransportedbacktothehometownsweallhavesomewhereinthebackofourminds.

Discoverthemagicthatconnectsus.Disney’sLaunchpaddebutswithsixoriginalshortfilmsfromuniqueperspectivesMay28onDisney+.Theshortfilmsandfilmmakersinthisfirstseasonoftheseriesare:“AMERICANEID,”WrittenandDirectedbyAqsaAltaf.ProducersareLeslieOwenandSteakHouse;ExecutiveProducersareJulieAnnCrommett,MahinIbrahim,AlyssaNavarro,ChrisCaraballo,JasonAlvidrez,AdamNusinow,MaryColeman,NicoleGrindleandVanessaMorrison.Ameena,aMuslimPakistaniimmigrant,wakesuponEidtofindoutthatshehastogotoschool.Homesickandheartbroken,shegoesonamissiontomakeEidapublic-schoolholiday,andintheprocess,reconnectswithheroldersister,andembraceshernewhome,whilehernewhomeembracesher.“DINNERISSERVED,”DirectedbyHaoZheng,WrittenbyG.Wilson&HaoZheng.ProducersareShincyLuandSteakHouse;ExecutiveProducersareJulieAnnCrommett,MahinIbrahim,AlyssaNavarro,ChrisCaraballo,JasonAlvidrez,AdamNusinow,JessicaVirtueandRachelYeung.AChinesestudentataneliteU.S.boardingschoolrealizesexcellenceisnotenoughwhenhetriesoutforaleadershippositionnointernationalstudenthaseverappliedfor.“GROWINGFANGS,”WrittenandDirectedbyAnnMariePace.ProducersareGenevieveFaye,MelodySandovalandSteakHouse;ExecutiveProducersareJulieAnnCrommett,MahinIbrahim,AlyssaNavarro,ChrisCaraballo,JasonAlvidrez,AdamNusinow,OsnatShurerandHalimaHudson.ValGarcia,aMexican-Americanteenwhoishalfhuman/halfvampire,hashadtokeepheridentityasecretfrombothworlds.Butwhenherhumanbestfriendshowsupathermonster-infestedschool,shehastoconfronthertruth,heridentity,andherself.“THELASTOFTHECHUPACABRAS,”WrittenandDirectedbyJessicaMendezSiqueiros.ProducersareNicoleCrespoandSteakHouse;ExecutiveProducersareJulieAnnCrommett,MahinIbrahim,AlyssaNavarro,ChrisCaraballo,JasonAlvidrezandAdamNusinow.Inaworldwhereculturehasnearlyceasedtoexist,oneloneMexican-Americanstrugglingtocarryonhertraditionsunknowinglysummonsadarkandancientcreaturetoprotecther.“LET’SBETIGERS,”WrittenandDirectedbyStefanieAbelHorowitz.ProducersareSydneyFleischmannandSteakHouse;ExecutiveProducersareJulieAnnCrommett,MahinIbrahim,AlyssaNavarro,ChrisCaraballo,JasonAlvidrez,AdamNusinowandGrantCurtis.Avalon’snotreadytoprocessthelossofhermother,butwhenshe’sputinchargeofa4-year-oldforonenight,shefindsmorecomfortthansheevercouldhaveexpected.“THELITTLEPRINCE(SS),”WrittenandDirectedbyMoxiePeng.ProducersareCarverDiserensandSteakHouse;ExecutiveProducersareJulieAnnCrommett,MahinIbrahim,AlyssaNavarro,ChrisCaraballo,JasonAlvidrez,AdamNusinow,SarahShepardandKarenChau.WhenGabriel,a7-year-oldChinesekidwholovesballet,becomesfriendswithRob,anotherChinesekidfromschool,Rob’sdadgetssuspiciousaboutGabriel’sfemininebehavioranddecidestointervene.