杰克是个总是只差临门一脚便可能成为超级巨星的纽约演员,电影但他却一直碰不到好的演出机会,电影但当他到加勒比海某个小岛国出外景的时候,竟然被当地的警察局长给绑架了!最出乎他意料的是警察局长还给了他一个毕生难得的演出机会--扮演该国的独裁者总统,原来是因为该国总统心脏病发猝逝,为了防止大众骚动或引发革命,警察局长只好出此下策;虽然假扮总统,欺骗社会大众是一件不道德、非法、欺骗的行为,但...
杰克是个总是只差临门一脚便可能成为超级巨星的纽约演员,电影但他却一直碰不到好的演出机会,电影但当他到加勒比海某个小岛国出外景的时候,竟然被当地的警察局长给绑架了!最出乎他意料的是警察局长还给了他一个毕生难得的演出机会--扮演该国的独裁者总统,原来是因为该国总统心脏病发猝逝,为了防止大众骚动或引发革命,警察局长只好出此下策;虽然假扮总统,欺骗社会大众是一件不道德、非法、欺骗的行为,但...
回复 :“Amelia”讲述的是美国女飞行员Amelia Earhart的传奇人生,标准的人物传记片,美国式立志奋斗故事,再加上女主角是希拉里.斯旺克,明显有瞄准奥斯卡之嫌。看新闻里的介绍:伊万演的是Amelia的真爱,一个叫Eugene Luther Vidal的西点空军飞行员,好像在美国历史上还挺有名的;片中另外一个男主是理查.基尔,饰演Amelia的丈夫。
回复 : 两个年幼的孩子和他们的父母帮助三个由外星人变成的友好的小狗,以逃避当地不明飞行物猎人的魔掌,因为他们需要修理他们的宇宙飞船。
回复 :2018年5月和6月,Jean Gabriel P_Riot与位于Ivry Sur Seine的一所高中的10名电影班学生合作,开展了一项将电影与政治结合起来的项目。学生们在摄像机前和摄像机后工作,重新布置罢工、抵抗和劳资纠纷的场景,这些电影可以追溯到20世纪60年代末到70年代末,包括让-卢克-戈达尔和阿兰-坦纳的电影。nos d_faites汇集了调查结果,并增加了采访,在采访中,导演询问学生他们刚刚表演的场景,关于“阶级”、“工会”和“政治参与”等概念,以及更广泛的社会背景。这是一个简单,但尖锐的设置,让观众一瞥年轻一代如何看待政治和过去的政治电影。这部影片还记录了导演试图激怒学生的企图。在导演和学生似乎处于平等地位的遭遇中,基于从未见过的导演更多类似于老师的提问,以及此时此刻对革命的思考:起义的表现反映了同样的情况。这会导致一个真实的发生吗?In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “labour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real?回到1968年的电影时代,继续对重放从过去跳出来的电影节选的年轻人进行今天的采访,我们的失败描绘了我们当前与政治的关系。我们的失败,还是我们有足够的力量来面对今天的混乱?By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?