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A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, it[展開全部]
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Thomas and Thomas are going through a rough patch: they are both thirty-something actors living in Paris. They randomly decide to leave the city and fly away to Kullorsuaq, one of the most remote villages of Greenland, where Thomas' father Nathan lives. Among the Inuit community, they will discover the charms of the local customs and their friendship will be challenged.
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艾拉(安妮•海瑟薇 飾)出生與一個色彩斑斕的奇幻世界中,每個在這裡出生的孩子都會得到仙女的“禮物”。而可愛的艾拉得到的“禮物”是服從。自此,無論是多苛刻的要求,只要一聲命令,艾拉便會一一照辦。艾拉母親去世前便叮囑她以後要用自己內心的真實信念去抗行咒語,而且必須找到下咒語的魔女才能完全解除咒語。此時的艾拉已經飽受繼母及繼母女兒的折磨,而她告訴自己必須要找到當年的魔女。 但一切進行得並不順利,而在一個偶然的機會中,她認識了英俊的王子查爾。自小父母便離世的查爾十分聽從叔叔的話。艾拉跟王子很快便墜入了愛河,當回到城堡的時候,艾拉發現了查爾叔叔的秘密,而且她身上的咒語更受到了查爾叔叔的利用……
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普里亞·坎薩拉 裡圖·阿亞 雷努·布林德勒 瑞卡·約翰-切裡揚 塞拉菲娜·貝 埃拉·布魯科萊裡 薩莉·安 珍妮·方內爾 肖娜·巴巴耶米 肖布·卡浦爾 尼姆拉·布查 索菲·埃斯林 蘇·麥克勞克林 傑夫·米爾扎 阿克夏伊·卡納 蒂婭·杜特
Aspiring martial artist Ria Khan believes she must save her older sister, Lena, from her impending marriage. With the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood.
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Priya Kansara 裡圖·阿亞 Renu Brindle Rekha John-Cheriyan Seraphina Beh 埃拉·布魯科萊裡 Sally Ann Jenny Funnell Shona Babayemi Sona Babayeva Shobu Kapoor 尼姆拉·布查 Sophie Aisling Su McLaughlin Jeff Mirza
Aspiring martial artist Ria Khan believes she must save her older sister, Lena, from her impending marriage. With the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood.
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A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'.\n \n 'Thomas Graal's Best Film' is one of the best comedies of the silent era. It works as an adorable romantic comedy about a concupiscent novelist who falls for his secretary; as a startling social tract, with the dessicated aristocracy giving onto the modern world of cinema, entrepreneurs and the New Woman; as one of the first films about filmmaking - there is an exquisite parody of Griffith's monumental 'Intolerance', as the actor playing a hanged criminal complains about the pain of being hoist from a ceiling.\n \n As early as 1917, before Hollywood was even heard of, we meet the philistine mogul hurling scripts into a wastepaper basket; the hysterical director; the overwrought, melodramatic actors. There is a wonderful scene where Bessie on horseback sees a man attacking a woman on a country road; coming cracking her whip to the rescue, she notices that a film crew are standing beside the roadside; she has mistaken fantasy for reality. This is the film's main theme, and the longest sequence features the title hero writing a screenplay after his mauling Bessie has forced her to flee; he imagines a desperate background of poverty for her from which he rescues her - this is the Best Film of the title.\n \n Stiller's movie shows a thrilling modernity in this sequence as it blurs not only the reality of Graal's writing and the fantasy he imagines, but also intrudes Bessie's own story: she disrupts his narrative just as she disrupts all the forces of (male) power that would try to pin her down. Bessie is one of the great heroines of silent film, permanantly amused by the absurd complacency of the inferiors surrounding her, with a gorgeous, generous grin suggesting both a taste for playfulness, and a voracious sexual appetite. The scene where she flees her father and ritualistically forces him to abandon his paternalistic intentions by destroying the bridge between them is hilarious but provocative.\n \n Graal's screenplay is not merely amusing for the gap between his assumptions and the actual truth. The imagined scene where the aristocratic parents become peasants, the father violent and drunk is subversive in itself (gentry reduced to peasants), but is also an apt metaphor for the patriarchal assumptions of the aristocracy.\n \n Another aspect of the film's modernity is its narration, expressed through intertitles, sarcastic at the expense of the characters, suggesting melodramatic attitudes appropriate to the plot, than showing a very different reality (eg the despairing lover Graal sunbathing merrily on a country lake). There is a ritualistic sexual content (eg the scene in the boat where Graal blows on the window), and a willingness to sidetrack on 'irrelevant' bits (eg the cigarette tricks) that also excite the viewer; while the Surreal\/Magritte\/Feuillade-like abduction scene, fragmented and seemingly arbitrary, where bowler-hatted servants wait to pounce on Bessie, is spooky.\n \n What makes 'Thomas Graal' a true classic though, and nearer to Sjostrom (who is terrific, his overacting more suited to comedy than drama), is the way the defiant artifice of the drama is shot against natural locations, producing a fruitful, jarring effect - Graal chasing Bessie through a country lane, slipping and losing his hat; a desperate Graal pushing a little old lady and stealing her boat, foreshadowing Seinfeld and a famous loaf of rye. There is a startling scene in a butcher's shop, a gallery of fresh carcass bloating the screen.
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