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備注：已完結(jié)
類型：歐美劇
主演：喬舒亞·杰克遜 亞歷克·鮑德溫 克里斯蒂安·史萊特 卡麗·普雷斯頓 多
導(dǎo)演：斯蒂芬·弗雷斯
語言：英語
年代：未知
簡介：杰米·多南(《五十度灰》)、亞歷克·鮑德溫、克里斯蒂安·斯萊特將主演真實(shí)罪案限定劇《死亡醫(yī)生》。講述著名的真人真事：反社會的“殺人醫(yī)生”Christopher Duntsch殺死弄?dú)埩?3個病人。他由多南飾演，鮑德溫和斯萊特飾幫助抓住他的另兩名醫(yī)生。 Duntsch是美國達(dá)拉斯一名神經(jīng)外科醫(yī)生，醫(yī)術(shù)界新秀，聰明有魅力，但本應(yīng)治病救人的他卻悄悄對病患下手，讓人在最脆弱時受致命傷害——在接受他做完的復(fù)雜但常規(guī)的脊柱手術(shù)后，33名病人死亡或癱瘓、殘廢。幾年來Duntsch逍遙法外，直到逐漸有同事發(fā)現(xiàn)了問題，兩名醫(yī)生和一個助理檢察官開始探尋他的罪行。2017年，他被判處無期徒刑，這是美國歷史上第一例“醫(yī)生因?yàn)樵谑中g(shù)室的行為被定罪”。 劇集直接改編自同名播客節(jié)目，探尋這名反社會殺手的心理，以及本應(yīng)保護(hù)最無能為力的人的醫(yī)療體系中出現(xiàn)的惡劣疏漏。劇集將由Patrick Macmanus(《幻想快樂》)編劇。
備注：已完結(jié)
類型：歐美劇
主演：丹尼斯·海斯伯特 雷吉娜·泰勒 奧德瑞·瑪麗·安德森 馬克斯·馬蒂尼
導(dǎo)演：大衛(wèi)·馬梅 史蒂夫·戈默
語言：英語
年代：未知
簡介：對軍人的至高獎賞，是榮譽(yù)。 然而，對于這一群特殊的軍人，他們的榮譽(yù)和戰(zhàn)績，甚至他們所執(zhí)行的任務(wù)，都將封存在機(jī)密檔案里。The Unit講述的是一支沒有名字的部隊，一支不存在的部隊。他們被派往全球各地，執(zhí)行美國政府的秘密使命。在基地里，他們的妻子互相安慰，互相支持。除了承 受士兵家屬所必需承受的一切，她們還要學(xué)會保守秘密——丈夫的秘密，自己的秘密……
備注：已完結(jié)
類型：歐美劇
主演：瑪婭·魯?shù)婪?/a> 弗萊德·阿米森 凱瑟琳·基納 諾亞·羅賓斯 金·惠特利
導(dǎo)演：未知
語言：英語
年代：未知
簡介：June and Oscar are a married couple who live a comfortable-but-predictable life in suburban California. For years, they've had the same conversations, eaten the same meals, and taken vacations at the same rented lakehouse. But when June talks Oscar into shaking things up by taking a ski trip, the couple suddenly find themselves in completely unfamiliar territory -- raising questions about love, commitment and their marriage.
備注：已完結(jié)
類型：劇情片
語言：其它
年代：未知
簡介：The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's siege is one of the first characters of the modern war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. Siege was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
