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哥本哈根牛仔
分类：海外剧
演员：安吉拉·邦达洛维奇,安德烈亚·莱克·约根森,瓦伦蒂娜·德贾诺维奇,德拉加纳·米卢蒂诺维奇,拉马丹·侯赛尼,张丽丽,杰森·亨迪尔-福塞尔,Hok,Kit,Cheng,Shang,Preben,Madsen,Emilie,Xin,Tong,Han,扎特科·巴瑞克,Fleur,Frilund,玛丽亚·厄沃尔特,Ayhan,Taskiran,Lei,Ba,Uyen,Nha,Dang,Nguyen,萝拉·温丁·雷弗恩,Thomas,Algren,Per,Thiim,Thim,Leif,SylVester,米卡埃尔·
状态：已完结
简介：这是一部激动人心、霓虹闪烁的黑色系列剧，共六集，跟随神秘的年轻女主角Miu。在经历了一生的奴役之后，在新的开始的边缘，她穿越了哥本哈根犯罪地狱的不祥景观。 为了寻求正义和复仇，她遇到了她的克星拉克尔，他们踏上了穿越自然和超自然的冒险之旅。 过去最终改变并定义了她们的未来 ，因为这两个女人发现她们并不孤单。
时间：2025-05-18 13:00:09
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阿曼达与小狐狸
分类：喜剧片
类型：
演员：理查德·卡恩,杰森·伦敦,Elizabeth,Foster,克里斯汀·梅利安,Stella,Shoha,理查德·戈特里,迈克尔·米利,科琳·詹特里,Ken,Alter,Leslie,McCurdy,Sherryl,Despres,Carrie,Foster,Hobart,Reynolds,Joel,Paul,Reisig,Paris,Jones,约书亚·雷·贝尔,卡尔霍恩·科尼格
状态：HD
简介：
10歲的亞曼達很想養狗，父親卻不允許。某天她發現一隻小狐狸，於是和好友瑪姬決定偷偷將牠當作寵物飼養，卻不知道麻煩即將到來…
时间：2025-05-18 10:48:23
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斯通豪斯
分类：海外剧
演员：马修·麦克费登,凯莉·霍威,凯文·麦克纳利,多萝西·阿特金森,奥拉·希尔,Emer,Heatley,Aoife,Checkland,Alan,SylVester,理查德·迪兰,布莱恩·卡斯佩,里奇·基伯,列娃·安德烈瓦伊达,Bryan,Lawrence,乔基姆·斯卡利,皮埃尔·伯格曼,乔纳森·罗德斯,伊戈尔·格拉布佐夫,Alison,Martin,Jones,Rita,McDonald,Damper,杰里米·赛康伯,丹顿·安德森
状态：已完结
简介：本剧聚焦英国可耻的工党内阁大臣John Stonehouse，讲述他的人生和所处时代的故事。Matthew Macfadyen饰演John，Keeley Hawes饰演其妻子Barbara。 故事讲述1974年11月，John Stonehouse，Harold Wilson（Kevin R. McNally饰）政府内十分成功的一员，消失在了佛罗里达州一家大型豪华酒店的海滩上。他留下了一堆折叠整齐的衣服，游入海中试图伪造自己的死亡。震惊的公众和媒体以为这位北沃尔索尔的国会议员溺水身亡或是被鲨鱼吃掉了，留下了自己亲爱的妻子Barbara和三个年幼的孩子。 Stonehouse是一个充满号召力、魅力四射，又自信满满的人，从他在议会的职业生涯早期开始，就给Harold Wilson首相和工党的坚定支持者就下了深刻印象。他出身工薪阶层，毕业于伦敦经济学院，第二次世界大战期间曾在皇家空军服役，看上去是一个从政的理想人选。 随着剧情展开，能够明显发现他作为持家男人的名声掩盖了事实。Stonehouse和自己的秘书Sheila Buckley（Emer Heatley饰）开始了一段婚外情，并在1960年代成为了捷克特勤局的间谍。 Stonehouse故意窃取一位刚刚去世的选民的身份，可他复杂的财务状况和人际关系最终让他们付出了代价。他以死者的名义申请护照，开始编织一个精心策划的阴谋，试图在澳大利亚开始新生活。但他被澳洲警方误认为是逃犯Lord Lucan而遭到逮捕，此前的计划也随之成了泡影。 Stonehouse被伦敦警察厅的警探带回英国后，发现自己对保证工党多数席位执政至关重要。
时间：2025-05-18 06:13:50
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未来全明星：返校第三季
分类：日韩剧
类型：
演员：米切尔·爱德华兹,格夫里玛雅,乔·霍尔特,凯莉·珍妮特,Rhoyle,Ivy,King,Buffy,Milner,SylVester,Powell,Netta,Walker
状态：更新至12集
简介：
时间：2025-05-18 04:21:53
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天使与昆虫[电影解说]
分类：微电影
类型：
演员：马克·里朗斯,克里斯汀·斯科特·托马斯,帕齐·肯西特,杰瑞米·坎普,道格拉斯·韩歇尔,安妮特·白兰特,克里斯·拉金,安娜·玛西,Saskia,Wickham,Lindsay,Thomas,Michelle,SylVester,Clare,Lovell,Jenny,Lovell,Oona,Haas,Angus,Hodder,Margaret,Golder,保罗·雷迪,Naomi,Gudge,John,Jenkins,John,Veasey,Clare,Redman,Jack,Turney,Elizabeth
状态：电影解说
简介：威廉姆（马克·里朗斯 Mark Rylance 饰）是一名生物学家，为了得到更多的研究经费，威廉姆入赘到了当地非常有名的贵族家中迎娶了美艳的尤金妮娜（帕齐·肯西特 Patsy Kensit 饰）。几乎是在一夜之间，威廉姆有了价值连城的家产，和一位漂亮的妻子。然而，随着时间的推移，威廉姆渐渐感到家中的气氛非常的诡异，尤金妮娜似乎并不想表面看上去的那么单纯，而是有着很多不可告人的秘密。 最终，这些秘密纷纷浮上了水面，尤金妮娜和自己的哥哥一直保持着乱伦的关系，不仅如此，威廉姆一直在养育的，其实是尤金妮娜和哥哥的孩子。最终，威廉姆决定带着女管家离开这片是非之地。
时间：2025-05-18 04:08:46
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森林女王
分类：科幻片
演员：坦娅·罗伯茨,泰德瓦斯,多诺万·斯科特,Elizabeth,of,Toro,France,Zobda,Trevor,Thomas,Clifton,Jones,John,Forgeham,Errol,SylVester,Williams,鲍勃·舍曼,迈克尔·香农,Nancy,Paul,Kathryn,Gant,Kirsty,Lindsay
状态：HD
简介：在神秘的热带雨林，生活着成群的野生稀有动物和正规植物。这个被称为热带天堂的地方并没有成为世外桃源，人们贪婪的眼睛和形形色色的欲望时刻威胁着这里的生物。一名美丽充满原始野性的女泰山希娜是这个天堂的守护神。她自幼生长在这片雨林，与野兽为伍，身手矫健，还有着神奇的能力控制着整个地区。她不放过任何一个对雨林有不良企图的人，以她超人的本领和魅力维护着生态平衡。渐渐的，人们的兴趣转移到了这个神秘的女性身上，希望揭开她的身世之谜……
时间：2025-02-25 23:10:01
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想象力
分类：日韩剧
演员：David,Cleveland,Ben,Benison,SylVester,McCoy,Wilf,Lunn,DavidCleveland,BenBenison,SylVesterMcCoy,WilfLunn,PatKeysell,TonyHart
状态：
简介：Vision On was a British children's television programme, shown on BBC1 from 1964 to 1976 and designed specifically for deaf children.
时间：2023-11-22 02:56:24
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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
状态：
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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