备注:已完结
类型:喜剧电影
主演:Nutthachart Chankan Benjamin Hotrab
导演:Theeratorn Siriphunvaraporn
语言:其它
年代:未知
简介:凡是青春就要求爱,四个年轻小伙子这次要向泡妞高手杰克讨教,看如何才能正确地把妹、交到女朋友,让自已也成为「闪光」一族。 然而爱情军师杰克自已也是一个头两个大,他似乎不像自已说的「一次搞定32个妹」,相反地,面临因怀孕而逼婚的女友感到手足无措,在决定以分手收场之后,这回杰克可尝到失去真爱的痛,后来透过写作来沉淀疗伤,痛定思痛决定再把女友追回来,而她…会轻易答应吗!就像全天下的情侣一样吵吵闹闹,他们能否画出美满的幸福蓝图?
备注:已完结
类型:剧情电影
主演:克里斯托弗洛斯·帕帕卡里亚蒂斯 Klelia Andriolatou
语言:其它
年代:未知
简介: Orestes travels to a small island during the pandemic in order to set up a music festival from scratch. Confronted with the small socie ty of the island, he will find involved in an extreme love story 克里斯托弗洛斯·帕帕卡里亚蒂斯阔别八年回归影坛作品,继“岛” “红河” “寂静之路”后又一部希腊剧佳片,疫病,难民,爱情,古典乐课。看似和谐的家庭关系之下又有多少暗流涌动?希腊碧海蓝天之间又隐藏着多少悲欢离合?一曲德彪西的月光,两段禁忌之爱,一幅描绘当代希腊人浪漫与苦情,挣扎与救赎的风情画。 10月13日希腊MegaTv独播,仅面向希腊地区观众,12月19日上线Netflix(希腊、塞浦路斯地区),23年年初将作为Netflix第一部希腊语剧集全球上映。
备注:已完结
类型:剧情电影
主演:刘易斯·柯克 克劳迪娅·格雷斯·麦凯尔 迈克尔麦凯尔 斯蒂芬·鲍克思
导演:特里·李·科克
语言:英语
年代:未知
简介: Follows the events of the Holocaust through the eyes of an SS Soldier.
备注:已完结
类型:剧情电影
主演:埃米利安·奥普雷亚 米哈伊·康斯坦丁 安德烈娅·瓦西里 丹·康德里奇
导演:图多尔·久尔玖
语言:其它
年代:未知
简介:克里斯蒂安·潘德罗是一名年轻的大学讲师,同时也是一名炙手可热的检察官,为了快速晋升,他的老板正在培训他。潘德罗是一起复杂的腐败案件的职业跳板,案件的被告是博格丹·莱卡(阿林·弗洛里亚饰),他是一名检察官,之前曾参与对著名政治王朝的走私指控。但他很快就对此案产生了怀疑,怀疑自己被用作安全部门和不诚实的政府内部人士精心策划的一场阴暗权力游戏的棋子。 潘德罗是一个有着强烈道德信念的理想主义者,但同时也是一个冷酷的花花公子,他欺骗他的伴侣朵拉(安德烈娅·瓦西里饰)和他的女学生。当他原则上从莱卡的案子中退出时,他被冻结了工作,受到捏造的刑事指控的打击,还受到威胁,含糊不清地威胁要敲诈他丰富多彩的私生活。由于偏执,他怀疑身边的每个人都是间谍或叛徒。他反对不公正的唯一立场可悲地结束了。
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类型:剧情电影
主演:Maciej Karas Amelia Fijalkowska Pat
导演:Kristoffer Rus
语言:其它
年代:未知
简介: 一名娇生惯养的电子游戏玩家想要参加即将到来的比赛赛,但因为生病的母亲和一位古怪的阿姨,他不得不重新考虑事情的轻重缓急。
备注:已完结
类型:剧情电影
主演:路易斯·帕特里奇 乔莉·理查德森 瓦妮莎·雷德格雷夫 伊恩·格雷 朱利
语言:英语
年代:未知
简介:艾伦·伯斯汀、艾玛·汤普森将出演奇幻新片[迷失的女人](The Lost Girls,暂译)。本片改编自J·M·巴利的小说,瓦莱里奥·德·鲍里斯将自编自导自演这部电影。汤普森的女儿Gaia Wise也将出演本片。故事将讲述四代可爱的女性在与彼得·潘在梦幻岛的冒险经历后的挣扎,将聚焦温迪(德·鲍里斯饰)在与潘的奇幻之旅后,如何努力保持自己的创作精神。就像她的祖母(伯斯汀饰)和母亲简(汤普森饰)一样,温迪必须摆脱潘对她的控制,以及潘拼命想让她信守的承诺。当她的女儿贝瑞(Wise饰)进入潘的势力范围,温迪必须战斗,以挽救她与她的女儿的关系。
备注:已完结
类型:剧情电影
主演:萨姆·德·格拉斯 Francelia Billington 埃里克·冯
导演:埃里克·冯·施特罗海姆
语言:英语
年代:未知
简介: Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"? The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.