10.0 韩语 · 2024 · 韩国 · 纪录片
李善雄,Tukutz,Mithra
한국 힙합의 역사 ‘에픽하이’의 20주년 콘서트 공연 실황! ‘FLY’, ‘FAN’, ‘LOVE LOVE LOVE’, ‘ONE’, ‘우산’, ‘1분 1초’ 등 대한민국 가요계와 힙합계에 한 획을 그은 주옥같은 명곡 셋 리스트. 무대 위 지치지 않는 세 남자의 열정과 감동을 스크린에서 만난다! 멈추지 않는 우리의 STORY 지치지 않는 우리의 SOUL 20년을 함께한 우리들의 HIGH SKOOL 그리고 함께 도전할 20년을 위해 YOU CAN FLY!
9.0 韩语 · 2024 · 韩国 · 纪录片
李善雄,Tukutz,Mithra
한국 힙합의 역사 ‘에픽하이’의 20주년 콘서트 공연 실황!
10.0 其它 · 1960 · 其它 · 剧情片
Zofia Marcinkowska,Henryk Boukolowski
50年代-60年代初波兰电影学院派的经典作品之一，堪称与同时代意大利导演安东尼奥尼的《奇遇》相比，改编自Józef Hen在社会主义波兰时期被禁的小说。 In 1960 his second film NIKT NIE WOLA NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.
5.0 其它 · 1965 · 其它 · 剧情片
Heinrich Hargesheimer,Carlheinz Hargesheimer,Martha Staendner,达尼埃尔·于伊耶,Henning Harmssen,Ulrich Hopmann,Joachim Weiler,Eva-Maria Bold,Hiltraud Wegener,Ulrich von Thüna,Ernst Kutzinski,Karl Bodenschatz,
The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.