Pisarev
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ITV’ssixpartfactualdrama,WhiteHouseFarm,producedbyNewPicturesrevolvesaroundonefatefulnightinAugust1985whenfivemembersofthesamefamilyweremurderedatanEssexfarmhouse;SheilaCaffell,hertwinsix-year-oldsons,DanielandNicholas,andherparents,NevillandJuneBamber.TheserieswillseektoprovidefreshinsightintothisfamilytragedyandthecontestedaccountsoftheeventsthattookplaceatWhiteHouseFarm.Basedonextensiveresearch,interviewsandpublishedaccountsincluding,‘TheMurdersatWhiteHouseFarm’byCarolAnnLeewithadditionalmaterialfrom‘InSearchofTheRainbow’sEnd’byColinCaffell,husbandofSheilaandfathertoDanielandNicholasCaffell.EssexPoliceinitiallybelievedthatSheila,whohadmentalhealthproblems,hadmurderedherownfamilybeforeturningthegunonherself.ButDetectiveSergeantStanJoneshaddoubtsaboutthemurder-suicidetheory,andaboutSheila’sbrotherJeremyBamber,whofirstcalledthepolicetothefarm.EventuallyitwasJeremyBamberwhowaschargedandconvictedofthemurdersofhisownparents,sisterandnephews.Bamberiscurrentlyservinglifeimprisonmentwithoutthepossibilityofparole.HeisoneofthefewprisonersintheUKsubjecttoawhole-lifeorder.Bamberstillmaintainshisinnocence.
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50年代-60年代初波兰电影学院派的经典作品之一，堪称与同时代意大利导演安东尼奥尼的《奇遇》相比，改编自Józef Hen在社会主义波兰时期被禁的小说。 In 1960 his second film NIKT NIE WOLA NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.
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LikeFritzLang,DavidFincherorBongJoonHobeforehim,talenteddebutfilmmakerLadoKvataniyausestheconceptofpolicedetectivevsserialkillerforanexcitinglystylised,macabreandhauntingnarrative,thatultimatelyrevolvesaroundtheidentityofanera:inthiscase,thelate1980sSovietUnion.WithGlasnostandtheendofcommunistrule,theWestalsolearnedo...
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玛莎·库利奇
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Inspired by stories of Polish musicians from the 1930-ies40-ies Music, War and Love is an uncommon love story; its romantic heartbeat is sustained by the love of music that draws its characters together. Two young lovers, ROBERT, a catholic opera singer and RACHEL, a Jewish violin virtuoso, dream of one day performing together at legendary Carnegie Hall. When they're torn apart by the German invasion of Poland, Robert vows to find Rachel, no matter what the war may bring. His search leads him on a life-threatening journey through the heart of Nazi Germany, to a reckoning that Rachel may be lost to him forever.
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As CFO, Alexander Meier fights for the survival of the company he works for. When Hans-Werner Brockmann the new appointed CEO, a hardliner, is appointed, Alexander gets in册ved in a power struggle that increasingly throws him off track. Before the ruins of his existence, Alexander sees only one possibility left to take revenge.
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SueBarkerpresentsadocumentarylookingatthelifeandcareeroftennisstarMartinaNavratilova.Theyfirstmetonthetennistourin1974,soSuewastherethroughoutthelandmarksofMartina'slife:defection,comingoutandbreakingrecords.Inthisprogramme,MartinatakesSuebacktoRevnice,herhomeintheCzechRepublic,andallowsthecamerastofilmherweddingin...
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AnimmersivejourneythroughtheNewYorkmusicsceneoftheearly2000s.Anewgenerationkick-startedamusicalrebirthforNewYorkCitythatreverberatedaroundtheworld.
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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.
