Kapor

SoonafterthefalloftheBerlinWall,Lena,fromtheformerEastGermany,plansatriptoHollywood.Shehasplannedheritinerarytotheminute,butwhenherbagisswitchedattheairportandsheloosesthenameofherhotel,allherplansarethrownintochaos,andshefindsherselfinthemiddleofatypicalHollywoodsuspenseplot.Afriendlycabdrivertriestohelpout,butdoesntbelievebadguysarereallyafterher.

CBS宣布开发英剧《鬼屋欢乐送Ghosts》的美版，Lionsgate及BBCStudios合作制片﹑由JoePort及JoeWiseman负责。《鬼屋欢乐送》讲述一对年轻夫妇搬到梦想的乡间别墅后，发现这儿原来有着一群不同时期的鬼魂，而他们都想把主角二人赶出去。

　　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.

A16yearsoldveiledgirlisterrifiedtogetouttheLuxembourgairport.

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

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。

四个男女之间的反复关系，在爱情里追逐和厌倦。丹（裘德·洛 Jude Law 饰）是作家，他爱上了舞女爱丽丝（娜塔丽·波特曼 Natalie Portman 饰）。丹对爱丽丝炽热燃烧的爱情给了他灵感和激情，但厌倦也随之而来，他内心在寻找另一个人的爱，终于他遇上了摄影师安娜 （朱莉娅·罗伯茨 Julia Roberts 饰）。 安娜和另一个年轻人拉里（克里夫·欧文 Clive Owen饰），在爱的游戏里相互试探和接近。但是丹的进攻也让她动了情。讽刺的是，安娜的情人拉里，也和爱丽丝有了瓜葛。 于是，躺在他们身边的人，未必是他们心里想念的那人。

Thestorybeginsin1996whenColonelSodhi,now70,visitshissisterandherfamily.However,evenafteroverhalfacentury,thenightmaresofhisintensebattleanditsaftermathoftenreturntohaunthim.OldSodhiandyoungAmarbegintobondandSodhiaccompaniesAmartoBurma(Myanmar)foranassignmentfromBBCtoshootadocumentaryonthestudentsagainsttheMilitaryJuntaforfreedomanddemocracy.InSingapore,SodhivisitstheplaceswhichbringbackthememoriesofhimasaLieutenantintheBritishIndianArmyLt.

Thisstoryisaboutamusician,Natalie,whomovestoabigcityandtriesherluckatbecomingfamous.Andhereshefindsnotonlyagreatopportunityforhercareer,butalsoanewlovewithanothergirl,Anna.Theytwoareverydifferent:onepoor,theotheroneisrich,oneofthemwritesmusicandsings,theotheronecannothearorspeak…Theyareunitedbyloveforeachother,buttheirownfearsstandinthewayoftheirhappiness.Theybothgothroughdoubtsandpain.Whentheyfinallyfindcourageintheirhearts,itseemslikeitstoolate…Butdoestruelovehavetimelimits?HISTORYTheproposedfilmisbasedonshortfilmILOVEHER(2013).Thefilmparticipatedinsuchfilmfestivalsas:Frameline39,SanFranciscoInternationalLGBTQFilmFestival,MIXCOPENHAGEN,FestivalInternationalEntr2Marches(Cannesfilmfestival),BostonLGBTFilmFestival,TheBarcelonaInternationalLGTIBFilmFestival.//ThefilmalsoparticipatedinfilmfestivalsheldinMadrid,Paris,Seattle,Boston,London,Hamburg.Inwholethefilmparticipatedin28filmfestivalsof12countries(France,USA,Canada,Switzerland,Germany,Serbia,LatinAmerica,Turkey)and3continents(Europe,America,Asia).

Professor Stephen Hawking thinks the human species will have to populate a new planet within 100 years if it is to survive. With climate change, pollution, deforestation, pandemics and population growth, our own planet is becoming increasingly precarious.                                                                    Planet Earth has been home to humankind for over 200,000 years, but with a population of 7.5 billion and counting and limited resources, this planet might not support us forever.                                                                    In this landmark film Professor Hawking, alongside engineer and radio astronomy expert Professor Danielle George and a former student, Christophe Galfard, join forces to find out if, and how, humans can reach for the stars and relocate to different planets.                                                                    Travelling the globe, they meet top scientists, technologists and engineers who are working to answer our biggest questions: is there another planet out there that we could call home? How will we travel across the vast distances of space to get there? How will we survive the journey? And how will we set up a new human civilization on an alien world?                                                                    Taking in the latest advances in astronomy, biology and rocket technology from the Atacama Desert to the wilds of the Arctic, viewers will discover a whole world of cutting edge research. This programme shows that Professor Hawking's ambition isn't as fantastical as it sounds - and that science fiction is closer to science fact than we ever thought.