Dey
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Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
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西蒙·威尔斯
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在一个安静的夜晚,少年老洛跟妈妈产生辩论。自感语言过于伤人,迈洛决议向妈妈报歉,前瞥见暗中中一道强光将妈妈虏去。他一起追逐,登上了那艘奥秘的飞船,竟不测离开了万里之遥的火星。本来火星人都从泥土中长出,住在火星的雌性不知怎样照料孩子,因而创造了保姆呆板人,并从地球上挟制她们相中的母亲,提取她的影象跟教训输入呆板人的顺序中。迈洛从潜藏在火星渣滓站四周的人类格里布口中得悉,妈妈的影象在提取后将忘却所有。在格里布跟火星女孩葵的赞助下,迈洛开展了营救妈妈的弗成能义务…… 本片依据插画师伯克利•布雷斯德（Berkeley Breathed）的原著改编。
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Oneweekonacruiseship,withparties,funandnewfriendships.Theall-gayclienteleonboardarepreoccupiedwithtopicssuchasidentity,thebodybeautifulandthesearchforsex.Everyeveningisdedicatedtoanewtheme,challengingthepassengerstoevermoreextravagant,body-huggingoutfits.Inthecabinshowever,thetalkismorethanskindeepasthemenopenupabouttheirprivatelives.Marek,ayoungPolishmanjustwantstobeacceptedandlovedasahumanbeingandnotjustbecauseofhistautbody.DipankarfromIndiahasjustrecentlycomeout;heandPalestinianRamziarerevellinginthekindoffreedomtheycanonlydreamaboutintheirhomophobicsocietiesbackhome.MartinisHIVpositiveandpondershedonisticways,whilePhilippefromFranceobservestheproceedingsonboardserenelyfromhiswheelchair.InhisfeaturefilmdebutdirectorFerlandMilewskisucceedsinprovidingalookbehindthescenesofanostensiblysuperficialworld.Hishumorousapproachhelpshimcreateagenuinebondwiththeprotagonistswhotalkopenlyaboutgaydesires,freeloveandgoodold-fashionedmonogamy.
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伍迪·艾伦
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在一个演员家庭中，大姐汉娜（米亚·法罗MiaFarrow饰）的丈夫——经济人埃利奥特（迈克尔·凯恩MichaelCaine饰）正为小姨子莉（芭芭拉·赫希BarbaraHershey饰）神魂颠倒。二姐霍莉（黛安娜·维斯特DianneWiest饰）戒掉了毒品，如今为经济拮据苦恼正考虑赚钱的生意，而汉娜的前夫——电视台编导米基（伍迪·艾伦WoodyAllen饰）终日幻觉自己的了脑肿瘤，四处求医痛苦不堪。小妹莉与孤僻的画家情人弗雷德里克（马克斯·冯·西多MaxvonSydow饰）相处，是后者唯一的倾诉对象。埃利奥特难耐情欲，终于与莉发生了关系，霍莉在一连串打击后意外的获得了事业和爱情的拯救……围绕在这个演员家庭周围的所有人，经历着情感和事业的重新洗牌。
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Lucid Dreaming forces the dreamer's dreamworld to merge with his waking one. But at what cost to the dreamer's grasp on reality? Dreams are doorways, but what are they really for? And, if you feel you must know, beware the TRICKSTER.
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Two penniless brothers with no prospects, who hope to give their thirteen-year-old sister a better future, invent an unusual job for themselves: armed with masks and mini cameras, they publically demolish the identity of the various “neighborhood sly guys” who infest Italy, transforming themselves into two improbable “heroes for hire.”
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Thejourneyofatranswomanwholeavesherhometownanddoesn'tcompromisehergoaltobeafreeandindependentwoman.
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卡兰(布莱恩·奥斯丁·格林饰)带着一枚威力壮大的现代十字护身符,带着他不凡的兵器专家团队返来了,他要掩护洛杉矶免受其最大的威逼——超等无赖莫特(丹尼·特乔饰)跟德拉戈(马努·因蒂莱米饰)。Callan将不得不与他已经的逝世敌Gunnar (Vinnie Jones饰)联手,试图挽救这座都会。Tom Sizemore扮演侦察Nitti跟Lou Ferrigno, DB Sweeney, Jeremy London跟Eric Roberts扮演条约工。
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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奥勒·博内代尔
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在一个平常的日子里,中年女子克莱德（杰弗里·迪恩·摩根 Jeffrey Dean Morgan 饰）早年妻斯蒂芬妮（凯拉·塞吉维克 Kyra Sedgwick 饰）处接来两个女儿汉娜（麦蒂森·达文波特 Madison Davenport 饰）跟艾米莉（娜塔莎·凯利斯 N atasha Calis 饰）跟本人共度沐日时间。当他们驱车漫游社区时,恰好望见街坊正在甩卖本人的物品。艾米莉看中了一个老旧但奇特殊致的木匣子,此时她尚不晓得,这是一个隐蔽着恐惧机密并且相对不答应翻开的盒子。盒子一旦开启,恶运跬步不离,艾米莉跟家人的恶梦就此开端…… 本片依据「洛杉矶时报」记者莱斯利·戈尔斯坦（Leslie Gornstein）依据实在变乱创作的「盒子里的恶灵」（Jinx in a Box）改编。
