Ender

美国某小镇，有一条通往哈特利小学的丛林捷径，但自从上世纪40年代之后，就很少有人通过这里。镇上的人传言林中有一个凶恶变态的老头，许多起失踪案都和他有关。这条路俨然成为小镇上的禁区，而世代居住这里的哈特利家族则成为最大嫌疑人。高中生德里克?卢卡斯（AndrewSeeley饰）和母亲（WendyAnderson饰）以及尚就读小学的弟弟托比（NicholasElia饰）搬到了外婆所在的这个小镇。开朗的德里克很快结识了丽莎（ShannonWoodward饰）等一众好友，并迷上了性感美丽的同校女生克莉斯蒂（ShannonWoodward饰）。某天，托比被同学哄骗走入捷径，血淋淋的死狗和阴森的老头令他闻风丧胆。见到弟弟惶恐的样子，德里克火冒三丈，他从同学口中得知了小镇的传言，好奇且愤怒的他决心闯入丛林一探究竟……

　　Stuart is a having a mid-life crisis. Desperate for something more in life, he tags along on his best friend's family vacation to Paris - then proposes to his friend's 24-year-old daughter, Rosalind, while standing under the Eiffel Tower.

In 1995 - the young Taiwanese woman writer Qiu Miaojin committed suicide in Paris’s Montmartre district, leaving behind the autobiographical novel LAST WORDS IN MONTMARTRE. Two decades later, the novel was published in English by the prestigious New York Review Books, bringing Qiu renown in Western literary circles and quickly prompting translations into other European languages. Qiu is considered the first openly lesbian novelist in the history of Chinese literature; her debut novel, NOTES OF A CROCODILE, became a “Bible” for the Taiwanese lesbian community and an underground classic in Taiwan and Hong Kong, with an official edition finally published in 2012. DEATH IN MONTMARTRE travels through Taiwan, Paris, and New York to trace the life of this literary star who enjoyed fame only after her death, interviewing literary masters from Taiwan, France, and the U.S. while discussing LGBTQ culture and lesbian literature from a perspective of equality.

艾伦·艾克哈特将出演[她唇之下]导演爱普洛·马伦执导的惊悚片[万德](Wander,暂译)。该片脚本由蒂姆·多伦执笔,故事环绕着精力不稳固的私人侦察亚瑟·布莱特尼克(艾克哈特饰)开展。他受雇考察万德一个小镇里的可疑逝世亡案件,该起案件与招致他女儿逝世亡的诡计有关。影片将于6月在新墨西哥州开拍。

Co-written by lead Charlotte Kirk and Edward Evers-Swindell, the 1665 - New England set horror film stars Kirk as Evelyn Haverstock, whose husband (Anderson) commits suicide, finding herself falsely accused of witchcraft after rejecting the advances of her landlord.

20世纪30年月,战役的鬼魂盘桓天下上空。纳粹信任妖术能够赞助他们迈向成功,于是派脱部下到处寻觅便捷的“治世良方”。1936年,在美国西弗吉尼亚的一个偏远农村复仇溪,老实仁慈的沃尔纳一家迎来一名不请自来。附属于北美地域德国遗产学术委员会的理查德·沃斯博士（Michael Fassbender 饰）离开这里,借住在沃尔纳家。一家人固然心有惴惴,不外看在钱的份上怅然接收沃斯博士,并对其表示出真挚的热忱,却未曾想对方带来了难以相信的劫难。 2007年,警员伊万·马歇尔（Henry Cavill 饰）生涯正堕入窘境。他的欧巴维克多（Dominic Purcell 饰）一度消逝。当他认为兄长已逝世时,维克多却忽然涌现,带着弟弟离开复仇溪。维克多毕竟阅历了怎么的磨练！这与30年月沃尔纳一家的遭受又有什么关系！

瑞典某市E6区发生运钞车劫案，劫匪穷凶极恶，组织严密，其背后俨然有一个庞大的恐怖犯罪组织暗中操纵。为了追查运钞车的下落，对抗无法无天的犯罪组织，国际警察机构命令特别调查组GSI追查此事，连阔别警队15年之久约翰·福尔克（雅克布·艾克伦德JakobEklund饰）也回归部队。他们将目标锁定在埃里克·达沃达（派勒·博兰德尔PelleBolander饰）等臭名昭著的犯罪头目身上，跟踪调查与他们有关的蛛丝马迹。而在这一过程中，城中的劫案愈演愈烈，犯罪分子们似乎与GSI展开了一场充满枪声血光的竞赛。精英云集的GSI面临巨大的挑战，残酷的正面对抗在所难免……

ColleaguesLesandNataliearedelayedintheAlbuquerqueairport.Restless|irritated|andunabletostandtheserviceworkershemeetsateveryturn|Lesheadsdowntown.Natalierefusestoleavehissideanddiscoversthathissupposedlyaimlesswanderinghasmoreofapointthanheiswillingtoadmit.Natalieconcealssecretsofherown|thoughneithercankeepthemquietforlong.Arapportgrowsbetweenthisunlikelypair|andsoontheysearchoutasparkofexcitementinthismostunlikelyoflocales.

Netflix预定5集限定剧《意料之外的凶手TheUnlikelyMurderer》,2021年播出。这部瑞典剧集为半虚构故事,基于ThomasPettersson在2008年出版的书籍创作。RobertGustafsson饰演平面设计师StigEngstr?m,他被认为很可能刺杀了瑞典前首相奥洛夫·帕尔梅。该剧讲述1986年帕尔梅遇刺后,Engstr?m凭借大胆和幸运,以及警方在案件办理中的迷茫,成功逃脱了法律制裁,直到他死去。主演还包括EvaMelander,MikaelPersbrandt和PeterAndersson。JoelSpira,EmilAlmén,ShantiRoney,TorkelPetterson,HenrikNorlén,LiaBoysen,MagnusKrepper,Bj?rnBeng...

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.