Noth
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劳拉·西塔雷拉
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Awomanvanishes.Twomentaketotheroadinsearchofher:theybothloveher.Whydidsheleave?Eachoneofthemhashisownsuspicions,andhidesthemfromtheotheronewho—mysteriously—nevertrulybecomeshisrival.Neitherisright—butisanyone?Thissuddenrunawaybecomesthehiddencoreofanumberoffictionsthatthefilmdelicatelyweavestogether:thesecretoftheheartofanotherwoman,lostaswell,manyyearsago;thesecretofthelifeofavillageinthecountryside,governedbyasupernaturalincidentthatnobodyseemstoperceive;thesecretoftheplains,whichneverceasestospreadanddevoureverything,liketheshadowsthatinvadetheworldafterthetwilighthour.
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平行宇宙中,任何事件都可能产生,即就是占有统一个名字统一种才能的人,他们也可能分出善恶两面,乃至更庞杂的特征。在咱们熟习的地球空间中,公理同盟的搭档们超人（Mark Harmon 配音）!蝙蝠侠（William Baldwin 配音）!闪电侠!绿灯侠互相砥砺协作,独特保护这个天下的跟平。而就在平常的一个凌晨,看起来有些差别平常的莱克斯·卢瑟（Chris Noth 配音）忽然涌当初闹市中心。 这个卢瑟来自于另一个平行天下,在谁人天下里,他跟小丑作为公理兵士涌现,然而未多少前他受到了罪恶超人!闪电侠等构成的罪行团体的残暴袭击。幸运逃到这个天下的卢瑟,只有告急于熟习而又生疏的公理同盟……
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A graduate of the Offenbach College of Design, Piotr J. Lewandowski has made his directorial debut with JONATHAN (working-title) based on an award-winning screenplay. The moving drama about family secrets and the obstacles to achieving one’s own happiness features Jannis Niew?hner, one of this year’s European Shooting Stars, in the title role of the 24-year-old Jonathan. The young man is caring unstintingly for his terminally-ill father Burghardt, but then sees his life in a new light after falling in love with Anka, who has come to nurse his father. However, the story takes another twist when Ron, Burghardt’s long-lost friend from his youth, re-appears — and a well-kept family secret is uncovered....
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María,ayoungstudentofFineArts,decidestospendaweekendwithJulio,herpartner,inthehouseofherparentstown.Oncethere,theyoungwomanwillhavetofacearealityalreadyforgotten.Thesolidmentalityofherfamilymeansthatpracticallynothinghaschangedinthelifeofherbrother,Hugo,andherfather,Arturo.
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拉尔夫·托马斯
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A series of unexplainable accidents befall the people and companies responsible for developing the world's first supersonic airliner (SST1). A British agent is sent to investigate and with the help of another agent uncovers a plot masterminded by Carl Petersen who stands to gain eight million pounds if the aircraft is not ready by a certain date. The evil Petersen has developed a number of robots (actually rather beautiirls with electronic brains) to help him sabotage the SST1 project by means of infrasound (extreme low frequency sound waves) which can be directed at people or objects with devastating results.
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MónicaadoresherdaughterClara.Oneday,theteenagerisfoundunconsciousandinacoma,acomathateventhedoctorscantexplain.Anxious,filledwithpainanddrivenbydesperation,Monicawoulddoanythingtosaveherandbringherbacktolife.Evensomethingthatcouldcauseunexpectedconsequences...DavidVictoridivesintothesupernaturalhorrorthrillerrealmtopresenthisdebut,andhedoesitbybeingateasewithalltheelementsofthegenre.Heintroducesastorythatshowsthedarknessweallhaveinside,bringingthecharacterstotheemotionalverge.Elegantandfilledwithasuggestiveatmosphere,combiningsubtlehintsandsuspensetraces,thefilmisenhancedbytheperformancesofthecharismaticBelénRuedaandDaríoGrandinetti.Victorihasalreadyachievedalot,heisawinnerofYoutube’sFilmFestivalandmadeawebseries,Zero(2015),whichwasproducedbyRidleyScottandMichaelFassbender.ThePactisyetanotherexcitingnewstepinhisjourneyasfilmmaker.
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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.
