653
2.0
HD
出生证明
2.0
上映时间:04月27日
主演:Andrzej,Banaszewski,Beata,Barszczewska,马里乌什·德莫霍夫斯基
简介:

  In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."
  The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.
  The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.
  The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.
  At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?
  Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."
  After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.
  In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

653
HD
出生证明
主演:Andrzej,Banaszewski,Beata,Barszczewska,马里乌什·德莫霍夫斯基
71
2.0
HD
革命往事1971
2.0
上映时间:04月27日
主演:罗德·斯泰格尔,詹姆斯·柯本,罗慕洛·瓦利,玛丽娅·蒙蒂,里克·巴塔利亚,佛朗哥格拉齐奥西,安托万圣约翰,Vivienne,Maya,大卫·沃贝克,朱里奥巴蒂费里,坡尔铎本丹迪,约翰佛雷德里克,迈克尔哈维,富里奥梅尼科尼,纳扎雷诺·纳塔莱,Stefano,Oppedisano,Memè,Perlini,Jean,Rougeul,贝尼托·斯特凡内利,德罗热达·铎洛斯,塞尔希奥·卡尔德龙,Simon,van,Collem,路易斯·莫里斯,阿尔多·桑布雷利,孔拉多·圣马丁
简介:

  故事发生在二十世纪初的墨西哥革命中。一辆长途马车里,高贵的先生女士们对一位沉默寡言的农民大放厥词,然而突然农民摇身一变,显出家庭式匪帮头目胡安(Rod Steiger 饰)的真面目。胡安打劫后路遇爱尔兰革命军爆破专家约翰(James Coburn 饰),后者的爆破能力令抢劫梅萨维德银行如探囊取物,于是胡安苦苦尾随,不经意间却卷入了配合维拉革命军的梅萨维德暴动。胡安如愿与约翰搭档洗劫银行,但他所有的收获却是解放150名政治犯人。
  政府军上校刚特率军镇压革命,胡安与革命队伍付出了惨痛的代价。在逆境中,约翰与胡安产生了真正的革命情谊,二人在前往美国的路上折返阻击刚特上校,当约翰中弹之时,这位老战士看到了昔日在爱尔兰的温馨场景……本片获1972年意大利大卫奖最佳导演奖。

71
HD
革命往事1971
主演:罗德·斯泰格尔,詹姆斯·柯本,罗慕洛·瓦利,玛丽娅·蒙蒂,里克·巴塔利亚,佛朗哥格拉齐奥西,安托万圣约翰,Vivienne,Maya,大卫·沃贝克,朱里奥巴蒂费里,坡尔铎本丹迪,约翰佛雷德里克,迈克尔哈维,富里奥梅尼科尼,纳扎雷诺·纳塔莱,Stefano,Oppedisano,Memè,Perlini,Jean,Rougeul,贝尼托·斯特凡内利,德罗热达·铎洛斯,塞尔希奥·卡尔德龙,Simon,van,Collem,路易斯·莫里斯,阿尔多·桑布雷利,孔拉多·圣马丁
149
2.0
HD
战俘计划
2.0
上映时间:04月27日
主演:阿雷克西·查多夫,Ian,Kelly,茵格保加·达坤耐特,小谢尔盖·波德洛夫,Evklid,Kyurdzidis,Giorgi,Gurgulia,弗拉基米尔·高斯特尤金,Ben,Foster,尤里·斯特帕诺夫,David,McAlister,Andrei,Kormunin,Steve,Jamieson,Lev,Erenburg,Peter,Wickham,Stanislav,Stotsky
简介:

  英国人约翰和他的未婚妻玛嘉烈在车臣被恐怖分子虏获,而艾云是战俘,他们跟衆人被囚禁在一起。其后约翰及艾云被释放,但是恐怖分子要约翰支付200万英镑赎金,否则奸杀他的未婚妻,约翰向英国及俄国领事馆求助,但被拒绝,最后英国电视台愿意资助约翰救出其未婚妻,但是要把过程全程拍摄,约翰最后得艾云相助,闯入恐怖分子阵营救出玛嘉烈和俄军官,但是恐怖分子继续追杀他们,幸得俄军战机协助才能脱险。[展开全文]
  英国人约翰和他的未婚妻玛嘉烈在车臣被恐怖分子虏获,而艾云是战俘,他们跟衆人被囚禁在一起。其后约翰及艾云被释放,但是恐怖分子要约翰支付200万英镑赎金,否则奸杀他的未婚妻,约翰向英国及俄国领事馆求助,但被拒绝,最后英国电视台愿意资助约翰救出其未婚妻,但是要把过程全程拍摄,约翰最后得艾云相助,闯入恐怖分子阵营救出玛嘉烈和俄军官,但是恐怖分子继续追杀他们,幸得俄军战机协助才能脱险。

149
HD
战俘计划
主演:阿雷克西·查多夫,Ian,Kelly,茵格保加·达坤耐特,小谢尔盖·波德洛夫,Evklid,Kyurdzidis,Giorgi,Gurgulia,弗拉基米尔·高斯特尤金,Ben,Foster,尤里·斯特帕诺夫,David,McAlister,Andrei,Kormunin,Steve,Jamieson,Lev,Erenburg,Peter,Wickham,Stanislav,Stotsky
115
1.0
HD
一九四四
1.0
上映时间:04月27日
主演:卡斯帕·威尔伯格,克里斯蒂安·乌克斯库拉,麦肯·施密特,格特·劳塞,亨德里克·图姆佩勒,卡尔·安德烈亚斯·卡梅特,亨里克·卡尔梅特,帕努·欧加,普瑞特·斯川伯格,普瑞特·派厄斯,马特·派厄斯,克瑞斯托·维丁,贾克·普林特斯,马格努斯·马里乌森,迈特·马姆斯登,托努·欧加,瑟珀·西曼,安妮·里曼
简介:

  1944年……德军与苏联列宁格勒方面军为争夺纳尔瓦地峡进行了一连串战斗。7月,苏军攻占了纳尔瓦,这座古城九百年来一直是俄罗斯和西方世界的分界线。纳尔瓦身后的坦能堡防线是爱沙尼亚首都塔林的最后防线,一群20岁出头的爱沙尼亚青年人志愿加入武装党卫军亲卫队第20师,开始在东线迎头痛击苏军装甲部队,为反抗苏联的占领而战。
  这不是爱沙尼亚第一次沦为东方和西方、德意志人和斯拉夫人交战的战场。从楚德湖的冰上大战算起,这一战斗已持续了七百多年,夹在中间的爱沙尼亚人也不可避免地被双方裹挟其中,成为历史的牺牲品。……
  到了9月,由于芬兰宣布停止同德国的军事合作并签订莫斯科停战协定,腹背受敌的德军决定撤出爱沙尼亚。苏军尾随着德军一路前进直至爱沙尼亚的首都塔林,红军中的叶沙尼亚(俄罗斯化的爱沙尼亚人)士兵也亲眼见证了,那面象征着爱沙尼亚民族独立的蓝、黑、白三色旗,于德军撤离的9月18日在塔林市的象征——赫尔曼塔悬挂了四天之后,终于在9月22日被苏联的红旗所取代。……
  占领塔林,并非苏德双方在爱沙尼亚的最后一战。……11月,在萨雷马岛泥泞、茂密的森林中,叶沙尼亚士兵顶着德军舰艇的炮火,驱逐了爱沙尼亚最后一批德军。大规模的战事终于结束了,但和平和自由仍未降临这片小小的国土,战争给人们带来的伤痛仍难以抚平……
  这,就是爱沙尼亚人的1944年。

115
HD
一九四四
主演:卡斯帕·威尔伯格,克里斯蒂安·乌克斯库拉,麦肯·施密特,格特·劳塞,亨德里克·图姆佩勒,卡尔·安德烈亚斯·卡梅特,亨里克·卡尔梅特,帕努·欧加,普瑞特·斯川伯格,普瑞特·派厄斯,马特·派厄斯,克瑞斯托·维丁,贾克·普林特斯,马格努斯·马里乌森,迈特·马姆斯登,托努·欧加,瑟珀·西曼,安妮·里曼
790
1.0
HD
战争与和平1966
1.0
上映时间:04月27日
主演:谢尔盖·邦达尔丘克,柳德米拉·萨维里耶娃,维亚切斯拉夫·吉洪诺夫,安娜斯塔西亚·维尔金斯卡娅,安东宁娜·舒拉诺娃,鲍里斯·扎哈瓦,阿纳托利·克托罗夫,奥列格·塔巴科夫,维克托·斯坦尼岑,伊琳娜·斯科布采娃,瓦西里·兰诺沃依,琪拉·戈洛夫科,伊琳娜·古巴诺娃,亚历山大·费·鲍里索夫,奥列格·叶甫列莫夫,朱利·乔霍涅利泽,弗拉季斯拉夫·斯特尔热利奇克,安格林娜·斯捷潘诺娃,尼古拉·特罗菲莫夫,尼古拉·雷布尼科夫,爱德华·马尔采维奇,叶莲娜·佳普金娜,诺娜·莫尔久科娃,彼得·萨温,谢苗·斯瓦申科,谢尔盖·尼科年
简介:

  本片改编自俄国文豪托尔斯泰的同名作品《战争与和平》,围绕1812年俄国卫国战争为中心,以贵族小姐娜塔莎(柳德米拉·萨维里耶娃 Lyudmila Savelyeva饰)、贵族青年皮埃尔(谢尔盖·邦达尔丘克 Sergei Bondarchuk饰)和安德烈公爵(维亚切斯拉夫·吉洪诺夫 Vyacheslav Tikhonov饰)三人的情感故事为线索,反映了1805年至1820年的重大事件,展示了当时俄国社会的风貌。
  本部1968年前苏联版的《战争与和平》耗时五年完成,耗资高达5亿6000万美元,堪称影史上最昂贵的影片,在苏联电影史上有着举足轻重的地位。影片拍摄得到了苏联军方的大力协助,在世界影史上,本片成为动用临时演员最多的影片之一。这部长达六个半小时的宏伟巨制,以其宏大的场面和史诗般的镜头语言,完美地呈现了俄法战争时期俄罗斯大地广阔的历史画卷,也极其忠实地再现了托尔斯泰的长篇巨著。

790
HD
战争与和平1966
主演:谢尔盖·邦达尔丘克,柳德米拉·萨维里耶娃,维亚切斯拉夫·吉洪诺夫,安娜斯塔西亚·维尔金斯卡娅,安东宁娜·舒拉诺娃,鲍里斯·扎哈瓦,阿纳托利·克托罗夫,奥列格·塔巴科夫,维克托·斯坦尼岑,伊琳娜·斯科布采娃,瓦西里·兰诺沃依,琪拉·戈洛夫科,伊琳娜·古巴诺娃,亚历山大·费·鲍里索夫,奥列格·叶甫列莫夫,朱利·乔霍涅利泽,弗拉季斯拉夫·斯特尔热利奇克,安格林娜·斯捷潘诺娃,尼古拉·特罗菲莫夫,尼古拉·雷布尼科夫,爱德华·马尔采维奇,叶莲娜·佳普金娜,诺娜·莫尔久科娃,彼得·萨温,谢苗·斯瓦申科,谢尔盖·尼科年
776
1.0
HD中字
切·格瓦拉传下部游击队
1.0
上映时间:04月27日
主演:本尼西奥·德尔·托罗,卡洛斯·巴登,德米安·比齐尔,乔昆姆·德·阿尔梅达,马克-安德烈·格隆丁,罗德里戈·桑托罗,弗朗卡·波滕特,卡塔琳娜·桑地诺·莫雷诺,马特·达蒙
简介:1959年,切•格瓦拉(Benicio Del Toro本尼西奥•德尔•托罗 饰)与菲德尔•卡斯特罗(Rodrigo Santoro 罗德里格•桑托罗 饰)率领的游击队组织“七二六运动”终于推翻巴蒂斯塔政权,在古巴建立了新政府。然随着时间的推移,切和菲德尔在治国理念上逐渐发生分歧,最终他辞去政府中的要职,并放弃家庭和古巴公民的身份,再次投入解放第三世界的战争中去。  几经辗转,切来到玻利维亚,与玻利维亚全国解放军共同展开游击队革命运动。玻利维亚总统René Barrientos(Joaquim de Almeida 饰)得知切的到来,决定不惜一切代价消灭这个令人头痛的革命者……  为了详尽真实再现革命家切•格瓦拉的革命岁月,美国好莱坞著名导演史蒂芬•索德伯格(Steven Soderbergh)用了4个小时来描绘这位传奇英雄。最终按照院线的需要,影片被分作两部分上映。本片荣获2008年戛纳电影节最佳男主角奖,并获得金棕榈奖提名。
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HD中字
切·格瓦拉传下部游击队
主演:本尼西奥·德尔·托罗,卡洛斯·巴登,德米安·比齐尔,乔昆姆·德·阿尔梅达,马克-安德烈·格隆丁,罗德里戈·桑托罗,弗朗卡·波滕特,卡塔琳娜·桑地诺·莫雷诺,马特·达蒙