Kapoor、艾萨·安哈尔、阿舒托史拉纳

拉杰（兰比·卡普尔RanbirKapoor饰）是一位名不见经传的歌手,天天在小酒馆里卖唱维生。一次偶尔中,拉杰碰见了名叫萨吉娜（索娜姆·卡波尔SonamKapoor饰）的男子,萨吉娜的俏丽跟奥秘破刻吸引了拉杰的眼光,他对萨吉娜开展了热闹的寻求。让拉杰觉得绝望的是,在萨吉娜的心思,早就驻进了一位名叫伊曼（萨尔曼·汗SalmanKhan饰）的男子,只管伊曼违反了本人已经许下的誓言,但萨吉娜仍然对他刻骨铭心。跟着时光的推移,拉杰乃至开端疑惑,这个素未碰面的伊曼,兴许基本就不存在。但是,让拉杰不想到的是,合法萨吉娜渐渐淡忘伊曼之时,这个谜一样的男子居然涌当初了他们眼前。

Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.

简介：Mausam是一个长达10几年的爱情长跑。从90年代的印度一直到现在的英国、瑞士、再到印度。从两小无猜的爱情，到经历生死的相许。最终2人在印度缘起的地方相遇，有情人终成眷属。《壮志凌云》是美国好莱坞拍摄的空军题材的电影力作，后来被多国仿制拍摄，成为此类题材电影的典范。印度宝莱坞于2011年拍摄的最新军事题材爱情大片《Mausam》还未上映就在印度引起了轰动，这部电影号称印度版的《壮志凌云》首次将印度飞行员在欧洲国家受训的细节曝光，引起军事迷们的广泛关注。电影中还出现了印度空军幻影-2000战斗机，电影的男主角就是这种战斗机的驾驶员。此片导演PankajKapoor是ShahidKapoor沙希德·卡普的父亲，本片还在多伦多国际电影节上参映。Mausam是一个浪漫的爱情故事，在旁遮普邦的一个小村庄里，有一位旁遮普男孩Harry和喀什米尔女孩Aayat，在第一个季节开始两人的关系，仅仅是青少年之间异性相吸的感觉。第二个季节转眼发展成年轻人之间的纯纯爱恋。第三个季节随着时间流逝他们之间的爱情日益增长，两人都体会到爱情的甜蜜滋味。在最后一个季节他们的爱情终于开花结果。但在此之前有关爱情背后的真相是牺牲了很多自我来学习如何爱人与被爱。这是一个可以看到以各种色调为背景，生活又充满激情的爱情故事。

Twenty-three-year-oldPeterFosterisanonlychildwholivesathome,whereheconstantlyhearshisparentsarguing.BecausePeterdoesnothingallday,thefamilygoestoaclinicwhereatherapistvideotapesthem.AfterPeterwatcheshistape,heviewsthetapeofatroubledArmenianfamily,whogavetheironlysonawayforadoptionwhentheyarrivedinCanada.Peterdecidestovisitthisfamily,andhepretendstobetheirson,BedrosDeryan.TheDeryanfamilywelcomeshimwithopenarms,andPetertriestopatchupthepoorrelationshipbetweenGeorgeDeryanandhisdaughterAzah.

阿亚尼（兰比·卡普尔RanbirKapoor饰）是一个小著名望的歌手,已经,他爱上了一个名叫阿莉扎（安努舒卡·莎玛AnushkaSharma饰）的女孩。阿莉扎俏丽温顺又仁慈,她的存在令阿亚尼久久无奈忘记,但是,阿莉扎已经阅历过一段异常伤心的旧事,直到当初也始终生涯在挥之不去的暗影中,这使得阿亚尼只能临时以友人的身份跟阿莉扎相处。两人计划了一场巴黎之旅,于是双双踏上了未知的旅途,阿亚尼本认为这趟游览可以替阿莉扎解高兴结,但壮志未酬。之后,一个名叫萨巴（艾西瓦娅·雷AishwaryaRaiBachchan饰）的女人也涌当初了阿亚尼的身边,让阿亚尼溘然觉悟,本人也许并不仅有阿莉扎这一个挑选。

影片描述小伙子拉吉.沙尔玛(南比尔.卡普尔Ranbir Kapoor)从18岁到30岁的恋情阅历。在别人生的差别阶段他碰到了三位女人：来自旁遮普小城的女人玛希(Minissha Lamba),在孟买的来自都会兰契的模特拉希卡(碧帕莎.芭素Bipasha Basu)跟从澳大利亚来的NRI出租车驾驶员加雅莉(迪皮卡.帕度柯妮Deepika Padukone)。影片是对于男孩面临一个另一个的恋情,最后找到本人的真爱的故事。

一位当红片子明星的新奇逝世亡吸引了侦察苏贾（阿米尔·汗AamirKhan饰）的留神,心中布满了困惑的他决议靠本人的气力找到变乱的本相。苏贾跟老婆罗斯（拉妮·玛克赫吉RaniMukherjee饰）已经占有过一个可憎的孩子,可怜的是,跟着这个孩子的逝世亡,伉俪两人的情感亦跌落了冰点,时辰濒临瓦解的边沿。在苏贾的新家里,一个生疏老妇的突入将所有搅得一团糟,同时,他手中的案子也成为了无头悬案。一次偶尔中,一位名叫罗诗妮（卡琳娜·卡普KareenaKapoor饰）的美艳男子涌当初了苏贾的视线中,很显然,各种线索标明白,这个奥秘的妓女跟他正在考察的案件有着蛛丝马迹的关系。

Aren't you doing it? Is it only me? Am I the only one who wants to be happy? Ah-yeong has the Ripley's. She dresses up nicely and goes to look at fancy apartments, she goes shopping around shopping malls as if she's going to buy expensive items and even shows off to her co-workers that she's got a rich boyfriend whom she's going to marry soon. Then one day, poor but innocent man Tae-ho appraoches her. Ah-yeong accepts his proposal but her flaws beging to show and everyone around her turn away but not Tae-ho. Will Ah-yeong get out of the prison of lies she built and become happy?

哈尔普瑞特（兰碧 卡普尔 Ranbir Kapoor 饰）以B等成绩勉强大学毕业，家境一般的他没有听从朋友的建议去考工商管理硕士，而是去应聘做销售人员。幸运的是他机缘巧合的获得了为你服务公司老总的赏识进入电脑销售行业，满心欢喜原本大展拳脚的哈尔普瑞特却在一开始就犯了致命的错误，正直的性格让他与索要回扣的客户起了冲突，老板罚他不准再涉及公司业务，同事们也为此排斥他。渐渐的他发现单一的指标数字和销售行业的潜规则让他感到厌倦，于是他决定开始创业，在其他伙伴的合作下，各自发挥所长，并凭着诚信的服务和售后建立起了火箭电脑销售公司。

Jolly LLB是一部宝莱坞法庭喜剧电影，编剧和导演是Subhash Kapoor。主演Arshad Warsi, Boman Irani和Amrita Rao。电影预告片于2013年1月8日发布。这部电影于2013年3月15日上映。故事讲述了一名律师搬到德里，处理了一起涉及肇事逃逸司机的案件。故事情节的灵感来自1999年发生在Sanjeev Nanda身上的肇事逃逸事件。