电影回顾了匈牙利风雨飘摇的20世纪。一位92岁的匈牙利女性在与五十多岁女儿的对话中,回顾了她惊心动魄的一生。她成长于匈牙利动荡的年代,与一位帅气的军人一见钟情,为了避免战争的冲突,她一生搬家了27次。电影以幽默和温情的方式来呈现了这段不凡的个人经历。它不仅是一位女性的个人史,亦是匈牙利的国家历史。
耍狠的大哥制定了地下法規,賺髒錢買華服,走路有風。小弟如我,只能在廣場嗑南瓜子,邊流口水看妹,邊模擬接吻,屬於我的時代何時到來?主角嘗試使壞,遇見鎮上的壞胚子,經歷詭異、噁心、殘酷卻又奇幻的一夜。鮮豔的影像色彩、實驗電子配樂,導演的處女作展現獨特風格,寫實的文本有著超現實的情節與視覺,使本片切中青少年議題而不落俗套。
影片改编自直木奖作家伊集院静的同名小说,讲述的爱犬死去的八岁女孩沙耶香(新津世知 饰演),和多年前失去幼小儿子的老人布濑(笈田吉饰演)在交流重要家人离开的心情时,逐渐温暖内心的丧失感的感人故事
影片改编自菲利普·罗斯2008年出版的同名小说,故事围绕上世纪50年代美国一名犹太裔男青年马科斯·梅思纳的苦闷与彷徨展开。
沈青怀着孕,压力很大。 她照顾着意外怀孕的学生和患有脑瘫的叔叔,后者有被赶出疗养院的危险。 成本不断增加,时间紧迫,但她和丈夫勉强承受。 当她收到自己的孩子有70%的几率先天残疾的消息时,她的婚姻陷入危机,沈青和她的丈夫为残疾胎儿的命运争论不休,而这个未出生的灵魂却同情地观察着一切。 周洲导演凭借池韵的强势主演和脑瘫患者的参与,讲述了一个女人在一个对残疾人抱有偏见的世界里遵循自己道德的悲痛故事。 ——贾森·马赫(摘自大阪亚洲电影节官网) Qing Chen is carrying a child and a lot of pressure. She is looking after a student who has had an unplanned pregnancy and an uncle with cerebral palsy who is at risk of being kicked out of a nursing home. Costs are mounting and time is short but she and her husband are getting by, just about. When she receives news that her baby has a 70% chance of being born disabled, it ignites a crisis in her marriage as Qing Chen and her husband argue over the fate of their unborn baby who is observing everything sympathetically.With a powerful leading performance by Chi Yun and the participation of people with cerebral palsy, director ZHOU Zhou gives a harrowing look at a woman following her own morality in a world where some hold prejudice against the disabled. [Jason MAHER]
法国1991年有”法国电影新浪潮祖母“之称的艾格尼丝.瓦达(《拾穗者与我》)执导的人物记录片,是对其丈夫、法国著名导演雅克德米(《秋水伊人》《柳眉花娇》)的一次生平记录。 雅克德米在30年代末还是个小孩,他的父亲拥有一个汽车库,他的母亲则是一位理发师,有着的家庭生活。他喜欢唱歌并且爱看电影,对所有类型的演出形式都着迷,他买了一架照像机拍摄他的第一个业余影片。这部影片通过他最亲密的人的角度,对雅克德米童年和职业生涯进行了一次全方位审视。
“假小子”田娇因冒名顶替上场,裁判将其驱逐出赛场。同队的许傲处处与田娇作对,两人之间的矛盾越来越深。小组赛一场比赛中,田骄上演帽子戏法,眼看胜利在望,许傲却踢入一粒乌龙球。田骄咬定许傲故意将球踢入自家大门缺得到了教练的不信任,成为替补队员,缺在后续的一系列事件中惊人真相浮出水面…
Mari (Marina Vlady) runs a boardinghouse for girls who are in trouble, and Juli (Lili Monori) is a young married woman who is fleeing her passionate marriage with an uncontrollable alcoholic. She has brought her young daughter along with her. Though this is not allowed under the house rules, Mari makes an exception for Juli. Both women are desperately unfulfilled - Mari has a narrow-minded and passionless man for a husband, and Juli still loves her husband, whom she recognizes as a person she cannot continue living with. The two turn to each other for comfort, and each woman gains necessary insights into her own life in seeing the other's struggles. This sober movie by feminist director Marta Meszaros was not a rousing box-office success.