Row

　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.

　　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.

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。

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

SixriotpoliceproceedwithanevictioninthecentreofMadrid,butthingsgowrongandamanloseshislife.AnInternalAffairsteamisgiventhetaskofinvestigatingthefactsandthesixriotpoliceareaccusedofmanslaughter.Thesquadsetabouttryingtofindtheirownwayout,leadingtotheirseparationand,finally,complicatingthesituationevenmore.Laia,oneoftheInternalAffairsteam,becomesobsessedwiththecaseandendsupdiscoveringthat,behindthefatefuleviction,there’salotmorethanmeetstheeye.

Devastatedbythelossofherfifteenyearoldson,Kevin,atthe1989FACupsemi-finalbetweenLiverpoolandNottinghamForest,AnneWilliamsfightsforthetruthaboutthetragedy.Standingalongsideotherparentswholostchildreninthematchandrefusingtobelievetheofficialinvestigationresults,Anneseeksherownevidenceinarelentlessquestforjustice.

DanceteacherandmotherNadjalefthersonMariowithherownmotherwhenhewaslittle.Nowshehasreappearedonhisdoorstep,seekingaclosenessthatknowsfewerandfewerboundaries.Anuncompromisingfilmaboutfamilyrelationships.

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.

本·金斯利将主演Epix新剧《OurLady,LTD》，共10集，史蒂夫·康拉德(《爱国者》《奇迹男孩》)打造，今秋开拍，明年播出。讲述一个年轻骗子詹姆斯尝试找牧师ByronBrown(金斯利)下手，却发现后者远比自己想象中要更危险。康拉德和《爱国者》的搭档BruceTerris编写剧本并担任运作人、执行制片人，康拉德执导其中6集。