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備注：已完結(jié)
類型：歐美劇
主演：奧克塔維亞·斯賓瑟 托馬斯·伊恩·尼古拉斯 席亞拉·博拉沃 戴夫·安納
導(dǎo)演：阿方索·戈麥斯-雷洪
語言：英語
年代：未知
簡介：故事根據(jù)著名的西班牙系列小說《Polseres Vermelles》及其同名加泰羅尼亞語劇集改編。該劇被描述成一部「混合了青春肥皂劇、故事喜劇和醫(yī)學(xué)劇特點(diǎn)」的、「反傳統(tǒng)」的劇集，故事地點(diǎn)為某大城市醫(yī)院，但主人公不是醫(yī)生和護(hù)士，而是青少年病人（這有別于大多數(shù)醫(yī)學(xué)?。Ｒ蝗?住在這家醫(yī)院里的少男少女出人意料地成為朋友，友情讓他們頑強(qiáng)地度過每一天，在艱難的情況下保持對未來的信心。據(jù)稱劇中充滿了黑色幽默。Amblin電視制片公司曾于兩個開發(fā)季之前開發(fā)過該項目，但當(dāng)時Fox在競價中輸給了ABC。ABC最終對該項目失去了興趣，但Fox一直有很強(qiáng)的興趣，于是今年把開發(fā)權(quán)又買了回來。該劇早被認(rèn)為「鎖定」了劇集預(yù)訂——因為Fox提前預(yù)訂了多集劇本，通常電視網(wǎng)只有確定自己肯定會播出某部劇集時才會這么做。既然該劇由Amblin電視制片公司開發(fā)，那么不可避免地要掛斯皮爾伯格的名號——雖然他本人不會參與這個項目的日常開發(fā)工作。 ——《天涯小筑》
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.
