Lena
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安娜希·贝妮
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在皮涅罗即将登陆流媒体平台的小说《Elenasabe》中，作者谈到了母性和妇女更自由地使用其身体的权利，但也谈到了老年的脆弱性和任务的重量。该书于2007年在阿根廷出版，是一部犯罪小说，讲述了关于道德的亲密故事和一个女人对个人自由的绝望寻求。
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马克·驰瓦汗
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这部宫廷肥皂剧是E!频道历史上首个有剧本节目，剧情非常符合E!频道的特点（E!频道以报道娱乐新闻和八卦资讯、追踪名人绯闻轶事、解读情感关系而著称）。《王室》十分类似已经被取消的NBC剧集《列王纪》（Kings），故事发生在虚构的现代英国（虚构的英国王室家族），是寓言故事和警世故事的结合体，主要描述人们被权力、富贵和欲望腐蚀后所作出的疯狂行为。据称故事框架类似于莎士比亚戏剧《哈姆雷特》。不知道英国王室对该剧感激还是憎恨该剧把他们一个个描绘成阴险、无耻、下流、淫荡的形象……正如剧中人所说，「金钱、性爱、毒品和权力」是王室成员唯一关心的东西。剧中人Helena王后（ElizabethHurley）一针见血地指出了这个王室家族存在的问题：「我女儿的阴部出现在四大花边杂志的封面上，我儿子在和一个下人约会，我丈夫肩上压着（世界危机引发的）千斤重担。」这些事情全都发生在同一周内！@m.yakutv.cc
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丹麦夫妇 Louise 和 Kasper 搬到了一个与世隔绝的林中小村里，过上了远离现代文明的生活。Louise 很想但一个妈妈但似乎他们有生育方面的问题。Louise 最后说服了她的女佣 Elena 为他们代孕，Elena 的肚子一天天大起来了，但是事情变得越来越不对劲……
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SoonafterthefalloftheBerlinWall,Lena,fromtheformerEastGermany,plansatriptoHollywood.Shehasplannedheritinerarytotheminute,butwhenherbagisswitchedattheairportandsheloosesthenameofherhotel,allherplansarethrownintochaos,andshefindsherselfinthemiddleofatypicalHollywoodsuspenseplot.Afriendlycabdrivertriestohelpout,butdoesntbelievebadguysarereallyafterher.
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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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广濑贵士
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Constantlyonthehuntandsufferingfromhallucinationsthatdrivehisviolentnature,anunnamedmaniscapturingwomenandsavagelybeatingthemtodeath.Meanwhile,awomanisluringmenintoaviolentend,bywayofherknife.Drivenbythesameforcetomaketheoppositesexsuffer,thekillers’fatesintertwine.Thetwomustfaceoffinabattletothedeath,inwhichtheyareforcedtorevealthehorribletruthbehindtheiraddictiontomurder.“Brutal”takesaninterestingapproachtoitsvisuals,drawingheavyinfluencefromWestern“Grindhouse”films,usingafiltertomakethefootageappeargrainy,damaged,andwithlightandcolorfluctuations.Unfortunately,thevisualstylingendsupfeelingmisguided,asotherthanapplyingthefilteritdoesnotimitateanyotheraspectsofthe“Grindhouse”genre.Despitetryingtodirtyupthefilm,itisapparentitwasshotondigital.Thecinematographyisalsoastepabovemost“Grindhouse”productions,withTakashiHiroseprovinghehastalentbehindthecamera.Exteriorshotstothosetakingplaceinsmallspacesareallcompetentlyframed,lit,andtransitionwell.Thedecisiontoaddaneffectontopoftheworkhurtsthefilm’simageryandevengivesasenseofdesperationtotrytocaptureacertaintypeofnostalgiawiththeaudience,insteadofrelyingonitsownstrengths.Itisunfortunatewhenonecreativechoicecanhurtaproductionsomuch.Thestoryof“Brutal”issimplebuteffective,itdoesattemptsomesortofsocialcommentaryabouttheviolentnatureofmenandwomen,butitdoesnotofferenoughdepthintothesubjecttojustifytheamountofviolenceondisplay.Thefilmdoesendonastrongnotewithaninterestingtwist,witharevealthatisboundtogrosssomeout,whilegivingothersachuckle.Inspiteofitssimplenature,thosewhoenjoyfilmsthatmakethemsomewhatuncomfortableandenjoythechallengeofgettingthroughsomeultra-violence,“Brutal”posesafunandentertainingchallengeinthatregard.
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故事配景为一战时代的德国。曼弗雷德·冯·里希特霍芬是一名德国飞翔员,他有着击落80架敌机的傲人战绩,被称为王牌中的王牌,他的外号叫“红男爵”。本片就是依据这位传怪杰物的平生改编而成。 曼弗雷德（马提亚斯·施维赫夫 Matthias Schweighöfer 饰）出生王谢,自小就向往着飞翔。成为德国飞翔员后,他凭着高明的技能以及奇特的作战作风博得他人的尊敬,包含被他击落的敌方飞翔员。在一次战役中,曼弗雷德击落了英国王牌飞翔员布朗,曼弗雷德在确认战果时发明布朗只是受了伤,于是将其救活。这个进程中他意识了一名俏丽的护士（琳娜·海蒂 Lena Headey 饰）,并对她一见仍旧。 1917年,曼弗雷德成为德国第一王牌飞翔员,掉掉落天子亲身颁授的最高勋章。厥后,他将本人的战机涂装成了背眼的白色,带领11中队,在3000米地面中所向无敌,由此得名“红男爵”。尔后的一次战役,他被击中,招致头部中弹。未多少德军下层斟酌到“红男爵”的宣扬代价因此有意地对他直接掩护,劝他退出火线不再飞翔。酷爱飞翔的曼弗雷德并不平服下令,要保持作战。终于,他迎来了飞翔生活中的最后一次反击……
