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Bouzid’s sophomore film details the sexual awakening of Ahmed, a young French man of Algerian origin...
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卡塔琳娜·舒特勒 馬丁·烏特克 Kim Riedle 于爾根·福格爾 娜塔莉亞·別利茨基 Luisa-Céline Gaffron 希爾德加德·斯羅德 朱塞佩·巴蒂斯通 Seda Güng?r 萊斯利·馬爾頓 Matthias Bundschuh Jules Elting Ole Lagerpusch Torben Kr?mer
Smart and quick-witted Julie is in her mid-twenties. She marches to the beat of her own drum and has her own manifesto: do nothing. And with nothing, she really means NOTHING: no work, no ...
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艾達·盧皮諾 羅伯特·瑞安 沃德·邦德 查爾斯·肯珀 安東尼·羅斯 埃德·貝格利 伊安·沃爾夫 Sumner Williams 格斯·席林 弗蘭克·弗格森 克萊奧·摩爾 奧利芙·凱里 理查德·歐文 Patricia Prest
From IMDB: Hard, withdrawn city cop Jim Wilson roughs up one too many suspects and is sent upstate to help investigate the murder of a young girl in the winter countryside. There he meets Mary Malden, whom he finds attractive and independent. However, Mary's brother is chief suspect in the killing. And Mary herself is blind.
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Contemporary Prague – social decay is inevitable. Prostitute Romi’s failures at work and elsewhere drive her to enthusiastically pursue other options. Is she heading for salvation or damnation? This courageous film from a director most often associated with box-office hits marks another shift in his varied creative career.
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Mandy is a mother, a writer, a nihilist. Mandy is a modern woman in a crisis. Raising a son in the midst of a female revolution, mining the pain of her parents’ separation and professionally writing about a love that no longer exists, she falls upon a troubled man, Pete, who’s searching for a sense of worth, belonging and ‘restored’ Male identity.
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Greg Stuhr 艾麗卡·巴赫蕾達-庫魯斯 卡米拉·貝勒 馬修·布羅德里克 羅伯特·福斯特 詹妮安·加羅法洛 格蘭特·肖德 羅伯特·沃恩 哈里斯·於林 喬·格里法西 斯蒂芬·亨德森 Norm Sham Kelsey Siepser Don Stuhr Daniela Galli
In 1943, revolutionary inventor Nikola Tesla died penniless in the New Yorker Hotel. Within 24 hours the U.S. government seized everything in his room. But one design was already missing. Seventy years later in Buffalo, NY, a brilliant young engineer has found it. And the only person she can trust is a low-rent detective with a pack-a-day habit.
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Karyna Khymchuk Maksym Myhayilychenko Natalia Lazebnikova Oleksandr Zhyla Daria Palagnyuk Andriy Shabanov
One has to be brave enough to accept loosing old self for the sake of growing up. Kira becomes adult briskly, watching her family and soviet childhood smashing into pieces. So does Ukraine in the early 90th, launching painful process of transformation into an independent country.
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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.
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“It is a film from an extended series. It is hard to say who is the main character of “The Soviet Elegy.” There are more than a hundred faces of our compatriots. But, of course, it is not by chance that it is the destiny of a famous political figure, Boris Nikolayevitch Yeltsin, that bears a special accent in the film. Though he got to power following quite typical ways, his un...
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