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備注：已完結(jié)
類(lèi)型：喜劇片
主演：JuddNelson CatherineBell LouFerrign
導(dǎo)演：MichelleDanner
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：A lovable dog named Bandit starts stealing cash to help his adopted family, he unwittingly sets them on a collision course with his dangerous ex-partner.
備注：已完結(jié)
類(lèi)型：劇情片
主演：馬里烏什·德莫霍夫斯基 貝婭塔·蒂?；S茨 菲耶夫斯基·塔德烏什 Ja
導(dǎo)演：沃伊切赫·哈斯
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：The Doll is an adaptation of the novel, The Doll (novel) by Boles?aw Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Boles?aw Prus a potential candidate for the Nobel Prize in literature. The influence of émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus's contemporaries. The movie, however, may be more compared to Stendhal's Le Rouge et le Noir, (The Red and the Black). The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful. This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz. Plot As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer's, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel's haberdashery. Marrying the late owner's widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz ??cki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his help (in secret) to Izabela's impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)
備注：已完結(jié)
類(lèi)型：劇情片
主演：安-索菲耶·許林 羅爾夫·索爾曼 阿妮塔·林德布盧姆 貝蒂爾·諾斯特倫
語(yǔ)言：其它
年代：未知
簡(jiǎn)介：青春的歲月多彩而惆悵，成人的世界則充滿失落和無(wú)奈。15歲的男孩帕爾（Rolf Sohlman 飾）平時(shí)在父親（Bertil Norstr?m 飾）的修車(chē)行幫忙，偶爾還要和家人去看望住在療養(yǎng)院、倍感孤獨(dú)的爺爺。女孩安妮佳（Ann-Sofie Kylin 飾）擁有一個(gè)推銷(xiāo)冰箱總是失敗卻高傲無(wú)比的父親（Bertil Norstr?m 飾），還有一個(gè)美麗但卻因個(gè)子太高無(wú)法成為空姐的阿姨（Anita Lindblom 飾），這些成年人心中的失意遠(yuǎn)遠(yuǎn)大于他們?nèi)松?。 相反正處在青春期的帕爾和安妮佳則躁動(dòng)、奔放。兩個(gè)孩子在療養(yǎng)院的露天派對(duì)上邂逅，慢慢走到一起，帕爾因被大孩子揍了一頓假裝對(duì)安妮佳不理不睬，但是青春的焰火其能就此熄滅？他們最終重歸于好，共同品嘗著幼稚的愛(ài)情之果所帶來(lái)的青澀和甜蜜…… 本片獲柏林電影節(jié)金熊獎(jiǎng)提名及國(guó)際評(píng)論獎(jiǎng)、UNICRIT獎(jiǎng)、IWG Golden Plaque獎(jiǎng)、瑞典哥德堡電影節(jié)最佳影片金獎(jiǎng)等4個(gè)獎(jiǎng)項(xiàng)。
備注：已完結(jié)
類(lèi)型：劇情片
主演：史蒂文·羅伯特森 Alan King 布蘭達(dá)·弗里克 魯斯·麥克卡比
導(dǎo)演：戴米恩·奧唐納
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：邁克爾（斯蒂芬·羅伯特森 Steven Robertson 飾）在很小的時(shí)候就因?yàn)榛忌狭诵郝楸园Y而全身癱瘓，生活不能自己的他居住在專(zhuān)門(mén)收容殘障人士的康復(fù)中心里，雖然生活起居都有人照顧，但沒(méi)有人能夠理解邁克爾抽象的語(yǔ)言，邁克爾一直生活在孤獨(dú)之中?！ ∫惶?，一位名叫羅伊（詹姆斯·麥卡沃伊 James McAvoy 飾）的病友走進(jìn)了邁克爾的生活，羅伊同樣也是全身癱瘓，僅有右手可以活動(dòng)。然而，和其他的病人不同，羅伊思維敏捷，開(kāi)朗樂(lè)觀，更神奇的是，他似乎可以理解邁克爾想要表達(dá)的語(yǔ)言。羅伊的出現(xiàn)給邁克爾灰暗的生活帶來(lái)了一絲色彩，讓他重新對(duì)人生產(chǎn)生了希望。
備注：已完結(jié)
類(lèi)型：劇情片
主演：羅伯特·德尼羅 烏瑪·瑟曼 比爾·默瑞 大衛(wèi)·卡羅素 邁克·斯塔爾 湯
導(dǎo)演：約翰·麥克諾頓
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：維恩（羅伯特·德尼羅 Robert De Niro 飾）是警局里的采證專(zhuān)家，個(gè)性溫和而又善良的他從來(lái)不會(huì)在犯罪現(xiàn)場(chǎng)開(kāi)槍?zhuān)慨?dāng)遇到對(duì)峙，他總會(huì)選擇智取而非武力。一場(chǎng)意外中，維恩認(rèn)識(shí)了黑社會(huì)老大法蘭克（比爾·默瑞 Bill Murray 飾），法蘭克對(duì)于維恩的智慧十分的贊賞，一來(lái)二去之中，兩人成為了好友?！ 榱藞?bào)答維恩的救命之恩，法蘭克選中了自己的俱樂(lè)部中的一名酒保格羅麗（烏瑪·瑟曼 Uma Thurman 飾），將格羅麗作為禮物送給維恩，在一個(gè)星期的期限里，維恩可以隨意的“使用”格羅麗，無(wú)論用她來(lái)干什么。然而，維恩在無(wú)數(shù)個(gè)選擇中選了最糟的那一個(gè)，他愛(ài)上了格羅麗。
備注：已完結(jié)
類(lèi)型：劇情片
主演：Patricia Healey 亞瑟·羅維 約翰·夏普 Julie P
導(dǎo)演：林賽·安德森
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：An impassive young girl is taken from her suicidal London life, back to her home in North England on a bizarre bus trip. Seen through the poetic eye of the camera, this is a commentary of doomed British morbidity. In HD.
備注：已完結(jié)
類(lèi)型：劇情片
主演：薩姆·德·格拉斯 Francelia Billington 埃里克·馮
導(dǎo)演：埃里克·馮·施特羅海姆
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
