简介：Ben Annie are a young couple on a weekend trip to Annie's small North Carolina hometown who, after meeting a charming old friend, embark on an impromptu 'Bigfoot hunt' that threatens both their relationship and their lives.
简介：《心火》(Feuerherz)德国奥地利 导演：路易吉-法洛尼(Luigi Falorni) 主演：Letekidan Micael 影片介绍：改编自德国著名歌手森娜特-梅哈瑞(Senait Mehari)的畅销书，讲述了一个德国女兵在非洲厄立特里亚内战中寻求生存的故事，这部作品也可以看作是森娜特-梅哈瑞的半自传，透过这本自传，人们对这位巨星的人生可以有更多的了解，可以一窥她一直不愿意回首的过去是怎样的。这是森娜特第一次直接面对她在非洲的童年往事。而导演也将继续延续自己上一部作品的纪录片风格。 导演介绍：路易吉-法洛尼(Luigi Falorni)1971年生于意大利佛罗伦萨，曾在慕尼黑电影学院攻读电影。他的上一部作品《骆驼骆驼不要哭》(The Story of The Weeping Camel)荣获2004捷克卡罗维法利国际影展观众票选最佳影片、巴伐利亚电影奖、旧金山FIPRESCI奖等多项国际奖以及2005年奥斯卡提名。wine文
简介：Ed Hutcheson, tough editor of the New York 'Day', finds that the late owner's heirs are selling the crusading paper to a strictly commercial rival. At first he sees impending unemployment as an opportunity to win back his estranged wife Nora. But when a reporter, pursuing a lead on racketeer Rienzi, is badly beaten, Hutcheson is stung into a full fledged crusade against the gangster, hoping Rienzi can be tied to a woman's murder...in the 3 issues before the end of 'The Day.'
简介：The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.