The remarkable story of how a group of inspired mavericks made an unlikely marriage of hip-hop and history the biggest musical show in America...and are getting ready to conquer the world.

　　第一部关于卢西奥·弗尔兹的传记片。从未见过的镜头，照片和采访。

　　大卫·哈雷伍德（David Harewood）调查了黑人和少数族裔新冠患者死亡率高的原因，展示,揭露,显示,呈示了现代英国的健康不平等现象。

　　影片是对性、犯罪行为和艺术的一种深思，导演成就,胜利,凯旋,成果地将影象和绘画这两件生命中重要的元素呈现出来，丰富地刻画,描摹,勾勒,描述出意大利传奇画家的一生。
　　本片是一部传记体影片。英国的先锋派导演贾曼也是一名画家，他怀着对卡拉瓦乔这位伟大的艺术家的崇敬心理和对画家日常,生存,生计,日子的浓厚兴趣，拍了这部关于艺术家日常,生存,生计,日子片断的作品。本片的手法和题材不拘一格，从各角度都给人以新鲜感。本片获得1986年柏林国际电影节银熊奖，是英国1986年最卖座影片之一。

　　此片不同于以往的 Hammer 吸血鬼的故事模式，描写由吸血鬼化身而成的巡迴马戏团来到一个已经遭受诅咒与疫情的村落，并且带来灾难的故事。此部片的故事背景设定在19世纪的塞尔维亚，这些如吉普赛人般的马戏团成员事实上都是会变身的吸血鬼。

　　电影导演莎莉（莎莉·波特 Sally Potter 饰）在创作新剧本时遇到了灵感堵塞，她烦恼不已，却又无济于事。在观看一场激情肆意的探戈舞演出后，莎莉被深深感染，仿佛找到了一些灵感。她决心暂时抛下职业,事业,工作岗位,职责，起始,开端,肇始,启始求学,进修,研习,学业探戈舞。她去巴黎旅行遇上了有名的探戈舞者帕布罗，被他的舞蹈所吸引。于是提出让他在自己的下部电影里演出，以帕布罗教她跳舞作为交换条件。莎莉越来越沉迷于探戈舞，在与帕布罗求学,进修,研习,学业探戈的过程中，他们彼此爱上了对方。但来自不同文化背景的两人，性格有着极大的反差：来自南美的帕布罗有着强烈的控制欲，他习惯掌控选舞、音乐等一切细节，甚至包括与莎莉的爱情；而作为女性主义者的莎莉却是决心,打算,计划,准备帕布罗参与她的影片的关键人。两人之间的关系时而紧迫,焦虑,急迫,忧虑，时而悠然，一场爱情之战悄悄起始,开端,肇始,启始。

　　亨利五世（劳伦斯·奥利弗 Laurence Olivier 饰）在登基之前是一个不学无术的花花公子，然而，坐上王位之后，亨利五世摇身一变成为了一位贤明的君主，他不仅善待子民，精于朝政，还发誓一定要夺回法兰西王位的继承权，正式向法国宣战。
　　在精心准备战斗的过程中，亨利五世发现自己的队伍中出了三个叛徒，为了警示众人杀鸡儆猴，亨利五世对这三人处以了极刑。战争起始,开端,肇始,启始后，虽然英军节节败退，但亨利五世并没有舍弃,抛弃,割舍,摒弃渴望,期望,盼望,企望，而是以士兵的身份四处劳军，巩固军心，最终依靠着强大的凝结力取得了最终的胜利。亨利五世不仅夺回了国土，海报的了美人归。

　　纳特伯恩学院是一所老牌的全是男生的寄宿学校，由于战时的种种限制，学校被告知另一所学校将与之合住。令人震惊的是，这是一所女子学校。两位校长很快就起始,开端,肇始,启始互相竞争，争夺魔法部的上风。但是一两次危机迫使他们合作。

　　故事出现,产生,形成,酿成在一个名为迪斯科的异想世界之中。一年一度的Hogswatchnight即将到来，这是这个世界里最为盛大和隆重的一个节日。每逢此佳节到来，圣猪老爹（多米尼克·波雷里 Dominic Borrelli 饰）都会骑着野猪拉的雪橇，挨家挨户满足孩子们许下的愿望。然而这一次，圣猪老爹却似乎遇到了困扰,烦恼,烦忧,烦扰。
　　神秘组织派出了杀手Teatime（马克·沃伦 Marc Warren 饰）追杀圣猪老爹，因为后者的存在严重扰乱了这个循规蹈矩的世界的规律。Teatime绑架了牙仙（西妮德·马修斯 Sinead Matthews 饰），令所有孩子忘记了圣猪老爹的存在。在这个节骨眼上，死神（伊安·理查德森 Ian Richardson 饰）挺身而出接替了圣猪老爹的职业,事业,工作岗位,职责，与此同时，死神的孙女苏珊（米歇尔·道克瑞 Michelle Dockery 饰）也在奋斗,拼搏,奋进,进取的找寻着圣猪老爹的下落。

　　电影改编自真实历史事件。故事出现,产生,形成,酿成在十六世纪，国王亨利八世（罗伯特·肖 Robert Shaw 饰）爱上了名叫安妮（瓦妮莎·雷德格瑞夫 Vanessa Redgrave 饰）的女子，他想同王后离婚，却又碍于世俗道德的制约。亨利八世找到了大法官托马斯（保罗·斯科菲尔德 Paul Scofield 饰），他要求托马斯在离婚法令上签字，企图以托马斯的德高望重来减轻自己的负罪。
　　托马斯一生光明磊落，国王的无理要求令极富正义感的他十分困扰，因为他明白，拒绝国王的人注定不会有好下场。在内心良知的引导下，托马斯贯彻了自己的原则，他拒绝签字并辞去了官职，可即便如此，正派,正气,刚正,光明的他也最终未能逃脱死于非命的厄运。

　　Childhood friends Tommy and Tuppence meet in London after having served in World War I. Recently "demobed", short of money, and with no job prospects, they decide to become adventurers for hire. Soon, they are employed by the British Government to locate a secret treaty signed before the war.

　　The play tells the story of a young couple, Cathy (played by Carol White) and Reg (Ray Brooks). Initially their relationship flourishes and they have a child and move into a modern home. When Reg is injured and loses his well-paid job, they are evicted by bailiffs, and they face a life of poverty and unemployment, illegally squatting in empty houses and staying in shelters. Finally, Cathy has her children taken away by social services.

　　Twenty years ago, old Mrs. Barlow was killed in her home at 12, Pimlico Square for her priceless rubies. The murderer searched the whole house without finding them, then disappeared. The house has been empty since then, but now Paul and Bella Mallen move into the apartment. Bella Mallen suffers from forgetfulness and nervousness - at least that is what her husband tells her. An elderly horse wrangler, B.G. Rough worked as a policeman twenty years ago and still remembers the unsolved case. He notices that Mr. Mallen looks just like Louis Barre, Mrs. Barlow's nephew. And why does Mr. Mallen so mysteriously leave every night just to go into the apartment next door, nr. 14?

　　An Englishman with a grudge against an insurance company for a disallowed claim fakes his own death, but is soon pursued by an insurance investigator.

　　"Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.
　　Sinofuturism is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora.
　　With reference to Afrofuturism and Gulf Futurism, Sinofuturism presents a critical and playful approach to subverting cultural clichés.
　　In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Sinofuturism proposes to push them much further.
　　By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence."

　　一晃眼，尼克（吉姆·布劳德本特 Jim Broadbent 饰）和梅格（琳赛·邓肯 Lindsay Duncan 饰）已经携手共同走过了数十年的婚姻日常,生存,生计,日子，两人是彼此最熟悉的亲人和最亲密的伙伴,好友,挚友,密友。充满了纪念意义的成婚,完婚,婚配,嫁娶纪念日即将到来，两人决心,打算,计划,准备前往巴黎，曾经，他们在那里度过了充满了浓情蜜意的蜜月，渴望,期望,盼望,企望这次故地重游能够唤回两人内心里渐渐熄灭的激情和忆起,追忆,回想,缅怀。
　　然而，现实是残酷的。漫长的婚姻日常,生存,生计,日子虽然将尼克和梅格紧紧的联系在一起，却也同时消磨了他们对于彼此的耐心和容忍，一路上，两人产生了大大小小的矛盾，气氛一度十分尴尬。一位老伙伴,好友,挚友,密友的出现让尼克和梅格决心,打算,计划,准备尝试着重新爱上对方，当他们怀抱着积极的态度来看待两人之间的感情时，一切似乎都起始,开端,肇始,启始朝着好的方向发展。

　　故事出现,产生,形成,酿成在1552年的英国，即将到来的权利交替让王公贵族们各个如临大敌，在摄政王约翰达利公爵（约翰·伍德 John Wood 饰）的暗中操纵下，原本的继承人，信奉天主教的玛丽公主（Jane Lapotaire 饰）遭到了排挤，简（海伦娜·伯翰·卡特 Helena Bonham Carter 饰）成为了继位者。之后，约翰公爵让孩子,男孩,少年,男童吉尔福德（加利·艾尔维斯 Cary Elwes 饰）迎娶了简，如此一来，实权便落入了他的手中。
　　简和吉尔福德被送往乡下等待着加冕仪式，原本素不相识,明白,明了,知晓,理解,认知,懂得,结识,相知,熟识的两人在朝夕相待,交往,来往,共处之间慢慢产生了真挚的感情。爱德华六世（Warren Saire 饰）去世后，16岁的简大权在握，她的一些做法惹恼了大臣，在位仅仅九天就遭到废黜，与此同时，逃出国外的玛丽公主带兵杀回了英国，夺回了本属于她的东西。

　　男子学校的课堂上，男孩们等待着教师,导师,师长,恩师的到来。当一脸严肃的男教师,导师,师长,恩师走进来的时候，气氛一下子变得沉闷不堪。教室广播突然响起：同学们，今天学校将会有一些改革和变化。你们的教师,导师,师长,恩师将会对于你们的未来给出建议和规划，而你们需要做的就是仔细地听取教师,导师,师长,恩师们的建议，并严格遵从他们的指示。你们将是学校和同学们的骄傲。
　　广播播报完毕后，男教师,导师,师长,恩师在黑板上写下“2+2=5”。大家都非常吃惊，这根本就不符合常理。但是教师,导师,师长,恩师宣称这是让男孩们学会的第一个“真理”。一片安静过后，男孩们都跟随教师,导师,师长,恩师一起读着。终于，一个男孩举手质疑这个答案。可是在教师,导师,师长,恩师的强迫下，他默默地坐下了。此时第二个男孩也站起来跟教师,导师,师长,恩师争辩。可是教师,导师,师长,恩师的答案却是：你不需要任何思索,沉思,思量,思虑。男教师,导师,师长,恩师甚至找来大学子,门生,弟子,学员来恐吓这个男孩，他的同班同学更是不想惹祸上身。教师,导师,师长,恩师再次疾言厉色地问道：答案到底是几？男孩毅然在黑板上写下了：4。随之，悲剧的一幕出现,产生,形成,酿成了……

　　美国中情局助理副局长丹·斯雷特的孩子,男孩,少年,男童在奥地利滑雪时突发意外身亡，丹立即单枪匹马飞往事发地展开调查，壮丽而冷峻的阿尔卑斯雪山上究竟出现,产生,形成,酿成了甚么一回事呢。。。

　　美国人约翰-诺德利John Nordley是阿罗哈号The Aloha的船长，这是一艘停泊在英国贝茅斯港的帆船，他在这艘船上日常,生存,生计,日子并进行私人包租。他经常违反英国法律，把船开到他的清单上没有列出的其他国家。有一天，客户安塞姆先生Mr. Anselm找上门，要求在不列颠群岛的东边航行一周，但他一上船就要求航行到荷兰的Maasvlakte，并向诺德利保证不会有任何非法行为。但这个请求直接把他自己和诺德利带入深渊，以至于引来几路人马要获得诺德利与安塞姆的秘密，大家都在刻意接近诺德利，他必须决心,打算,计划,准备谁可以信任，谁不能信任。

　　丹尼斯（西蒙·佩吉 饰）当年因害怕成立家庭，并觉得自己会毁掉女友比莉（桑迪·牛顿 饰）的一生，成婚,完婚,婚配,嫁娶当天丢下了已怀孕的女友逃走了。5年后，丹尼斯才发现自己原来一直是爱着比莉的。就算他们会因为孩子,男孩,少年,男童的关系经常见面，可是比莉已经与会计师威特（汉克·阿扎利亚 饰）约会，她早已因丹尼斯当年的行为而死心。
　　纵使丹尼斯对于威特充满了敌意，可是自己也明白他根本比不上帅气成就,胜利,凯旋,成果的威特。胖胖的丹尼斯不过是个保安而已，他微薄的工资无法付得起房租，房东的孩子,女孩,少女,千金把他赶到了大街上去。
　　彷徨无助的丹尼斯感到无地自容，他不知如何面临,直面,应对,应付孩子,男孩,少年,男童与比莉，还有情敌威特。可是他一想到要与比莉重新在一起，他毅然宣称要参见马拉松比赛，在马拉松赛场上，还是情感的赛场上，丹尼斯都誓要胜过威特……

　　1974年8月7日，法国杂技名人菲利普·珀蒂（保罗·麦克吉尔 Paul McGill饰）在纽约世贸大厦高达110层（412米）的两座大楼之间，完成了一次至今仍令人叹为观止的壮举——搭起了一条横跨天穹的钢索，完成了长达45分钟的大胆表演。谁也想不到，这个害羞的25岁男孩菲利普，在伙伴,好友,挚友,密友们的援助,协助,辅助,助力下，缜密调查筹划，突破层层关卡，终于神不知鬼不觉地完成了这次极其危险而疯狂的“艺术犯罪”。菲利普在钢索上或跪或躺，时而慢行时而舞动。影片镜头细腻地捕捉到了当年无比惊险的分秒，并生动地重演了现场，再加上人物访谈等多种手法，使得这部逐梦世贸大厦间的纪录片，在美国911事件后，弥足珍贵。
　　这部由BBC、Discovery和UK Film Council联合出品的传记类纪录片《走钢丝的人》，荣获2009年第81届奥斯卡金像奖-最佳纪录长片，2009年第62届英国电影和电视艺术学院奖-最佳英国影片，及2008年第21届欧洲电影奖-最佳纪录片奖提名。

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. SHIMON@lounge.moviecodec.com