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Bloedverwanten
分类：日韩剧
类型：剧情
演员：亨瑞特·托尔,德雷克·德·林特,Saskia,Temmink,塔尼娅·杰丝,SaskiaTemmink,YvonnevandenHurk,维多利亚·科布林科,KhaldounElmecky,SusannahElmecky,ScarlettElmecky,WolterMuller,西尔维娅·侯克斯,RoosOuwehand,EelcoSmits,皮埃尔·波克玛,KatelijneVerbeke,劳拉·德波尔,RudolfLucieer,扬容·斯皮森伯格,米契尔·哈思曼
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简介：
时间：2023-11-22 03:09:02
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Sylvester
分类：剧情片
类型：剧情
演员：Eugen,Klöpfer,Edith,Posca,弗里达·李察,Karl,Harbacher,EugenKlöpfer,EdithPosca,KarlHarbacher,尤利乌斯·E·赫尔曼,RudolfBlümner
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简介：Sylvester, by the hugely underrated Lupu Pick is one of the least known films of the silent era, and unjustly so. Pick, the director of the slightly less obscure Scherben (Shattered), is almost as forgotten as this, his masterpiece... a film that without doubt, in it's time, was one of the most important of the German silent era.This great Kammerspiel is the middle entry in a trilogy written by the master screenwriter Carl Mayer (see here for a web resource for Mayer, as well as a writeup on Sylvester), all three of which were intended to fall under the directorial auspices of Pick: the first was Scherben (Shattered), the second was Sylvester (New Years Eve), and the last was Der Letzte Mann (The Last Laugh), which, as the film went into production, shifted directorial hands-- and was ultimately helmed by another of Mayer's ongoing collaborators, the great F. W. Murnau.Much has been made about the supposed innovations of Der Letzte Mann/Last Laugh: that it was the first film to be produced without interti
tles, and that it was the film to "unchain the camera" via the integration of subjective camera movements. Some attribute these innovations to Murnau completely, others give credit to Karl Freund for innovating the moving camera. Others suggest that it was within the sc ript for Letzte Mann that instructions for the moving camera can be located, and that this innovation, in this film, rests wth Mayer.As for the interti tle issue, the myth is easy to debunk: in Germany at least, one can, through exploration of chronologically preceding ti tles written by Mayer, see that this screenwriter had been seeking out this kind narrative-pictorial purity for years already by the time Letzte went into production. Hintertreppe (Backstairs, 1921, directed by Leopold Jessner, assisted by Paul Leni), Scherben (Shattered, 1921), Die Strasse (The Street, 1923, directed by Karl Grune), Sylvester (New Years Eve, 1924, Pick) all ran, in initial, domestic German release, with one-to-no interti tles. That makes Der Letzte Mann the fifth film that Mayer sc ripted for execution without interti tles.Putting aside the issue of the preceding use of moving camera by Yevgeni Bauer, Raul Walsh, Giovanni Pastrone, D.W. Griffith, etc-- the issue of who in Germany who first conceived and extensively utilized the subjective moving camera is put to rest with a simple viewing of Sylvester.Like all Carl Mayer tales-- and like Scherben before it-- Sylvester is an exceedingly simple story... it is New Years Eve, and all levels of the social strata are celebrating. Like a restless deity exploring the substance of his human creations, in all the colliding facets of their existence, the camera comes in out of the rolling waves of the void of nighttime... announcing with a single opening interti tle the insc ription from the Tower of Babel: "Go go let us go down and there confound their language, that they may not understand one another's speech."With this we move in off of the ocean, and into a city-- it is New Year's Eve and the street is a sea of revelers. Here Pick and Mayer's camera lingers for a couple of minutes before picking up the thread that constitutes the "story", to which the rest of the film is oblivious:A small family unit which runs a low-down bar on the main thoroughfare in town constitutes the central zone of the film. A husband and wife are keeping the food and drinks coming to the drunken, lower-working class revelers tossing confetti and streamers for the holiday. A baby sleeps in a carriage. Suddenly an ominous dark silhouette appears on the frosty outer side of the rear kitchen's window, and is sighted by the wife, who instantly deflates-- all her joy and enthusiasm for the coming countdown to midnight are instantly sapped.The intimate Kammerspiel which follows, triggered by the arrival of the wife's mother-in-law, is constantly orbited by the world outside. (As is typical for a Mayer film, the characters are nameless: The husband, The wife, His Mother) The camera continuously places the emotional strife of the trio of the man and his wife, and her terrible feuding with her schizoid mother-in-law, into context of the larger human universe. Intercut with their scenes of impending tragedy and near operatic gloom are shots of the oblivious streets: grand hotels with elegant appointments and well-heeled revelers in tux flowing out of limousines (welcoed through a revolving door operated by Emil Janning's spiritual predecessor), organ grinders and panhandlers with beaten faces crushedby prison time, bawdy bourgoise, flappers, rowdy laborers, streamers and confetti everywhere. Whereas most films place their characters in the center of the human universe, absorbing all the significance and spiritual gravity made available via the story, Sylvester, despite the pathos of the impending tragedy in the tiny family unit's unfolding drama, de-emphasizes the importance of the family... the narrative strains at times to disassociate itself with them, lingering for solid stretches of minutes, tracking up and down the streets, picking out stranger after stranger, settling on no one and everyone.It's via this dis/association that the power of the film multiplies, gathering the force and impact of the cruel reality of existence: a world paying lip service to the rest of itself, even in it's most awful of crises. The world spins; life goes on. I mentioned in my previous essay (li nked above) for Sylvester:I still believe that to be true. What Mayer was attempting to do here is very difficult to articulate in words... thus the opening statement from Babel. This is a film beyond language, beyond a general statement. That barrier that confounds its explanation is the same existential barrier that exists between the family unit and the world outside, which is the barrier that exists between every human heart’s lived life, and the rest of the surrounding world. To paraphrase Tom Regan in Miller’s Crossing: “Nobody really knows anybody—not that well.” 时间：2023-11-22 02:16:58
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克里希纳神
分类：动作片
演员：Margarete,Schön,Gertrud,Arnold,Theodor,Loos,汉斯·阿达尔贝特·施勒托,MargareteSchön,GertrudArnold,TheodorLoos,鲁道夫·克莱恩-鲁格,RudolfRittner
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简介：根据德国古典史诗《尼贝龙根之歌》改编。本片共两部，第一部的副标题是《西格弗里德》或《西格弗里德之死》，又译《斩龙遇仙》；第二部《克伦希尔德的复仇》。第一部剧情：库山王子西格弗里德从传说中得知，如果能用丛林内的巨龙血液沐浴，就能全身刀剑不入，乃立刻启程斩龙取血。不料飘来一片树叶 贴在他的背上挡住了龙血。他自恃刀剑不入，乃出兵讨伐矮人国，夺取隐身头巾和尼伯龙根的国宝。后来，他更凭这两样法宝之助打败冰岛女王的武士，跟王妹克伦希尔德结婚。武士哈根获悉，将长矛对准被树叶贴住而未沾龙血的背部猛掷，西格弗里德应声倒地。第二部描述西格弗里德死后，克伦希尔德嫁给了匈奴国王伊泽尔，生下一个孩子。她邀请她的兄弟前来参加派对，并鼓励伊泽尔向杀死她前夫西格弗里德的凶手哈根报仇。不料哈根得到她兄弟们的保护，于是她必须为逼迫自己的兄弟交出哈根而展开一场激战。
时间：2023-11-22 01:51:27
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男人，爱人和母亲
分类：剧情片
演员：SibylleBrunner,JudithHofmann,Sibylle,Brunner,Fabian,Krüger,朱迪斯·霍夫曼,Sebastian,Ledesma,FabianKrüger,SebastianLedesma,EricHättenschwiler,AlexisHaupt,Anna-KatharinaMüller,MargotGödrös,HansRudolfTwerenbold,BodoKrumwiede,玛丽埃塔·耶米,DanielFrei
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简介：同志小说家洛伦兹（Fabian Krüger 饰）长期定居柏林，直到妈妈露西（Sibylle Brunner 饰）中风入院，他才回到位于瑞士东部的阿特施泰滕小镇，和姐姐共同担起照顾母亲的责任。露西对洛伦兹的性取向难得开明，只是儿子的感情依然让她挂心。小镇上意外住着一位洛伦兹的年轻书迷，他与洛伦兹发展出忽冷忽热的感情纠葛。随着露西病情加重，搬进老人院似乎成为必然选择，然而在家庭争执中，一段隐藏多年的家庭秘密浮出了水面......本片获得6项瑞士电影大奖提名，女主角因此封后。
时间：2023-11-22 01:47:38
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1945
分类：剧情片
演员：Péter,Rudolf,Dóra,Sztarenki,Ági,Szirtes,József,Szarvas,Eszter,Nagy-Kálózy,本斯·塔斯纳迪,塔马斯·萨博·基梅尔,伊万·安吉鲁兹,彼得·鲁道夫,多拉·萨塔伦基,阿吉·西尔泰什,约泽夫·斯扎瓦斯,埃斯特·纳吉·卡洛齐
状态：高清
简介：1945年8月12日上午11时，两个穿着黑色衣服的神秘陌生人出现在匈牙利一个村庄的火车站。在俄罗斯占领的阴影下，村里的人们正准备举行书记官之子的婚礼，但新娘的前未婚夫从囚禁中归来。几个小时之内，一切都变了。秘密，罪恶，算账，爱，背叛，对抗接踵而至。
时间：2023-11-21 19:47:48
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