绿树成荫,夏雨淋漓,小学生阿全的暑假作业是要观察鸡蛋的孵化,而他的家庭似乎也面临着变化:在成长过程当中缺席的母亲才从监狱假释,又回头去找当初要她顶罪的男友,令阿嬷与妈妈的争执越演越烈;爷爷则被诊断出阿兹海默症,阿嬷看似无微不至的照顾,更像在掩饰什么不可告人的秘密。此时,爷爷的旧友来访,看似友善温和的他,却掀起了一阵家庭风暴⋯⋯
影片讲述了十七世纪的瑞典女王克里斯蒂娜的生平。在片中,克里斯蒂娜(玛琳·布斯卡 饰演)与她的侍女,美丽的女伯爵艾芭·斯巴雷(莎拉·加顿 饰演)产生了感情。然而重权在握的大臣克塞尔·奥克森谢纳(迈克尔·恩奎斯特 饰演)却强迫她与自己的儿子约翰(卢卡斯·布莱恩特 饰演)结婚。反对派的人试图利用艾芭来控制克里斯蒂娜,然而他们全都低估了克里斯蒂娜的聪明头脑,以及她对自由的强烈渴望。
唐三藏师徒取得奇经交予天庭的十六年后,世界却并没有因此变好。如今奇经下落不明,天庭派大军大肆搜寻,以天羽山之战为起点,狼妖白狼不辞万难地寻回当年取经的唐僧师徒,小队集结踏上还经之路……史上最颠覆的西游传奇便在此展开。
小北(成龙饰)从小习武,并且有奇异的预感能力,他的梦想是能成为一名特务一天,他成功的逮捕了打劫银行的匪徒,从而威震四方,成为有名的新闻人物。于是他莫名其妙的被私家侦探告知可能是北韩间谍朴元正失散多年的儿子,而朴元正正是私家侦探的一个韩国客户,但已经奄奄一息了。这正符合小北相当间谍的愿望,于是他答应去韩国寻找身世之谜。在韩国见到朴元正后,朴告诉小北有一笔巨款藏在了土耳其内,随即溘然长逝。小北于是又开始了艰难的寻宝历程。在朴的遗言以及女记者福喜的帮助下,他找到了一笔巨款,并邂逅了一名神秘女子咏(徐若萱饰),但随即而来的却是一连串的突然袭击,弄得小北有些不知所措,不过他也意识到自己周围的人绝对不是那么简单,而自己所经历的一切也都隐情在其中。凭着敏锐的知觉和过人的身手,小北继续巡查,却发现自己早就身不由己的被卷入了一场巨大的战争之中了。
《我的燃情岁月》讲述了那个逝去的年代,一批绚丽夺目的青春女兵参加野战医疗卫生队,用激情人生和残酷青春抒写生存和死亡的故事……故事通过一个19岁像花一样绚烂的女孩方捷新兵入伍展开,在那颠荡起伏的嘎斯车上以一首热情洋溢的革命歌曲作为引申,穿越时间的厚茧,还原到了那个充满理想充满热情的年代……通过一个个小人物的生和死那浓缩的片段,讲述了生和死的意义,展现生命的尊严、灵魂的重量、活着的美丽和人性的光芒,力图从死亡中拯救出一些东西;他们有的是优秀的医生,有的是美丽的女兵,有的是天真的孩子……也许,另有比生命着本身更值得他们坚守的,比如理想,比如爱情,比如责任,比如希望……本剧在故事的背后阐述了生是偶然的,死是必然的这一自然现象,而更多的是探讨活着的人应该多去珍惜美好的生活,当死的时候,希望是一种解脱,只希望不后悔,爱过,追求过,付出过,得到过,失去过,未尝不是一种领悟……在记忆里,很多消失的人和事,本来已‘入土为安’,却被记忆顽强地保留着,然后在某一时刻重生,或者说复活。生,是一种态度。死,是一种姿态。生与死,构成了人生的始末……它是电视剧版《阳光灿烂的日子》经过两年的筹备,剧本创作四易其人,虽然没有商业悬疑和情爱,无法讨巧观众,但投拍方称,“就是为了打造出一部电视版的《阳光灿烂的日子》,要让这个剧“每个毛孔都带着那个时代的质感”。《我的燃情岁月》展现的是一代人的青春,虽然有着特定时代的淡淡痕迹,更多的却是所有走过青春的人都能体会到的灼热温度。导演姜凯阳说,在他的记忆里,那个年代的天很蓝,水很清,树很绿,人的眼睛很亮……对那个逝去年代的深深的怀恋是他喜欢这个剧的原因。两个月的拍摄,大家都在努力在时间隧道中逆行,寻找着那个年代的感觉。它是女兵版《士兵突击》《我的燃情岁月》是以女主角方捷(《我的青春谁作主》中李霹雳的扮演者林园饰演)回忆的方式,讲述的一部女兵成长史,该角色和《士兵突击》中的许三多一样,都是一个贯穿全剧的人物,“女版许三多”的称谓由此而来。“如果从励志的角度说,倒也可以这么评价。”柳叶刀说,方捷和许三多的性格都很执着,“有时,过度执着会容易让人受不了,许三多是这样,方捷也是。”
阿三(杜少津饰)并死击杀白莲邪神占承天,一时声名天噪,“铁桥三”名号不胫而走。此时朝廷颁令禁烟,林则徐奉命南下,穆亲王私下与东印度公司勾结经营鸦片,遂派遣杀手狙杀林则徐。事为阿三撞破并将林则徐救出。 穆亲王女儿穆格格(袁洁莹饰)自小追随满清第一高手赫哈学武,久无施展身手机会,闻阿三武功了得,常故意挑战,多次交手之下,格格对阿三颇有情意,但阿三已与小蝶相恋并进入谈婚论嫁阶段。关死后留下海关提督空缺,穆亲王向光绪举荐赫哈出任,如以即可操纵一切鸦片入口。不料光绪并不昏庸,谓此缺由新科武壮元出任,并订下选考日期。林则徐以公以私力举阿三赴考,但阿三功力原已不及赫哈,且为血手印所伤,究竟阿三能否夺得武状元?
The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church. On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
在20世纪60年代的南方腹地,一名男子在与自己过去的耻辱作斗争的同时,作为一名丈夫和父亲,他在自己的酗酒和复杂的家庭动态中挣扎。
暗中喜歡民秀的智熙碰巧在爲考試而苦苦掙紮的民秀家一起學習。在那種情況下,智熙偷偷地想象着與敏秀的浪漫。敏洙發現智熙喜歡他後,便專心緻志地專注于自己的成績。與此同時,暗戀敏秀的跟蹤狂娜英看到智熙出來後突然拜訪敏秀。敏洙用娜英…
如果没有你我会怎样,资深记者小蒙,车被人撞坏,被迫开着肇事者傲凡的豪车代步,本无交集的两人却意外成为同事,在工作中两人的心越走越近,爱情本以为就这样到来,当小蒙发现傲凡接近她只是为了了解收购公司,觉得被利用的小蒙伤心欲绝,愤然辞职,决定离开这座城市,结束这段感情。然而峰回路转……
由百文影业出品,浩令东熹娱乐传媒有限公司联合出品,李子峰、宁心主演的古装仙侠网络轻喜剧《十里桃花后传》,自开拍以来就备受瞩目,广大粉丝望眼欲穿。近日,该剧发布正式海报,并宣布定档1月19日爱奇艺全网独播上线。
当米里亚姆跟丈夫安托万·北松离婚后,她希望12岁的儿子朱利安能够远离拥有暴力倾向的父亲,故向法庭申请单独扶养权。然而安托万成功在庭上说服法官,法官最终判处双方拥有共同监护权。大受打击的米里亚姆除了要接受未如所愿的裁判外,还要提防前夫别有用心的父亲。面对水火不容的双亲,身处夹缝中的朱利安不得不想尽一切办法,阻止家庭危机。
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