這部電影以親密而毫不妥協(xié)的方式刻畫了 29 歲的北愛(ài)爾蘭調(diào)查記者萊拉·麥基,她被新愛(ài)爾蘭共和軍殺害。這部電影由她的密友、英國(guó)電影學(xué)院獎(jiǎng)得主艾莉森·米勒?qǐng)?zhí)導(dǎo),旨在解釋麥基之死及其對(duì)國(guó)家的意義。通過(guò)豐富的錄音、實(shí)地筆記和對(duì)認(rèn)識(shí)她的人的采訪檔案,萊拉講述了一個(gè)無(wú)畏地致力于真相和正義以追究被遺忘的罪行的一生。這部電影描繪了一幅復(fù)雜的北愛(ài)爾蘭政治歷史圖景,聚焦于 1998 年耶穌受難日協(xié)議——該協(xié)議承諾為子孫后代結(jié)束暴力——如何難以完全實(shí)現(xiàn)。
艾倫·伯林納創(chuàng)作了一部引人入勝、感人肺腑的紀(jì)實(shí)作品,講述了詩(shī)人兼翻譯家埃德溫·霍尼格因阿爾茨海默病的侵襲而失去記憶、語(yǔ)言和過(guò)去的故事。由HBO紀(jì)錄片公司發(fā)行。
這部紀(jì)錄片講述了兩位母親在逃離祖國(guó)危險(xiǎn)的途中,在尋求庇護(hù)后,在美國(guó)邊境與孩子分居數(shù)月。母親和孩子的痛苦經(jīng)歷讓觀眾感到十分心疼和記憶猶新,促使人們?cè)撨M(jìn)行反思,吸取其中的經(jīng)驗(yàn)教訓(xùn),而不是重蹈覆轍這慘痛的經(jīng)歷。
暫無(wú)簡(jiǎn)介
縱觀嘻哈的歷史,沒(méi)有一個(gè)團(tuán)體像吳唐家族那樣改變游戲。在90年代早期,一群來(lái)自斯塔登島和布魯克林的年輕說(shuō)唱歌手聯(lián)合起來(lái),通過(guò)音樂(lè)來(lái)逃避貧窮、暴力和對(duì)社區(qū)的壓迫。他們的單曲“Protect Ya Neck,” RZA, GZA, Ol’ Dirty Bastard, Inspectah Deck, U-God, Ghostface Killah, Method Man, Raekwon da Chef, 和 Masta Killa “formed like Voltron” to release Enter the Wu-Tang (36 Chambers), 這是一張開創(chuàng)性的專輯,重新定義了一個(gè)流派,并永遠(yuǎn)改變了行業(yè)的經(jīng)濟(jì)。
該系列基于《紐約時(shí)報(bào)》的開創(chuàng)性報(bào)道,講述了媒體大亨魯珀特·默多克及其家人對(duì)美國(guó)乃至整個(gè)西方社會(huì)留下令人不安的遺產(chǎn)。
英國(guó)電視節(jié)目主持人兼養(yǎng)豬戶吉米·多爾蒂 (Jimmy Doherty) 將在多科·吉米·多爾蒂 (doco Jimmy Doherty) 的《新西蘭逃亡》(NZ Escape) 中走上公路,探索新西蘭的美景,并探索真正的新西蘭精神。
20世紀(jì)70年代初,契奇和鐘聲(Cheech & Chong)橫空出世,在喜劇舞臺(tái)上嶄露頭角。他們的作品融合了毒品、性和搖滾樂(lè),使他們成為脫口秀偶像、反主流搖滾明星和好萊塢傳奇人物。他們那玩世不恭的“癮君子”式幽默,不僅帶來(lái)了爆棚的笑料,也成就了爆滿的演唱會(huì)、白金唱片和票房大賣的電影。契奇和鐘聲是如何點(diǎn)燃全球觀眾的想象力,并在50年(甚至更久)的流行文化中保持其影響力的?這部首部獲得完整授權(quán)的契奇和鐘聲紀(jì)錄片,將帶您踏上一段辛酸而又爆笑的旅程,了解這對(duì)史上最偉大的喜劇搭檔之一的生活和他們的伙伴關(guān)系。
波蒂洛喬治Bradshaw的維多利亞鐵路指南的副本所需的曲目。波蒂略在一系列五史詩(shī)般的旅程,旅行該國(guó)的長(zhǎng)度和廣度看鐵路如何改變了我們,并Bradshaw的英國(guó),還有什么。
1840年,一個(gè)人徹底改變了英國(guó)人的旅行方式,他的名字叫喬治-布萊德蕭,其編寫的火車指南鼓勵(lì)了維多利亞時(shí)代的英國(guó)人乘火車進(jìn)行旅行,對(duì)于每一站,他都會(huì)告訴大家該去哪里,去哪里參觀以及在哪里住宿,現(xiàn)在,170后的今天,主持人將在全國(guó)范圍內(nèi)進(jìn)行4段長(zhǎng)途旅行,看看當(dāng)年布萊德蕭的英國(guó)如今變成了什么樣子。
For over 50 years, Hayao Miyazaki has been enchanting the world with his films. Tonari no Totoro (My Neighbor Totoro), Mononoke-hime (Princess Mononoke), Sen to Chihiro no kamikakushi (Spirited Away), or his latest film Kimitachi wa dō ikiru ka (The Boy and the Heron), to name only a few of eleven feature films, ten short films, several manga, and also through Studio Ghibli, a museum and a theme park. They form a luminous body of work and characters that have become cult classics. Miyazaki’s films, often autobiographical, also reflect the state of the world and the turmoil of the twentieth and twenty-first centuries, made of wars and ecological disasters. He was born in Japan in 1941, during World War II. As a child, he immersed himself in drawing manga until he had a revelation upon discovering Hakuja den (The White Snake Enchantress), the first Japanese colour animated film by Taiji Yabushita. From then on, he decided to devote his life to animation, this magical art capable of overcoming the darkness that had always deeply inhabited him... Thanks to exceptional access granted by Studio Ghibli to numerous film excerpts and rare Japanese television archives, we discover the life of Miyazaki as well as a profoundly ecological body of work that questions our relationship with the natural world and living beings. Thinkers like anthropologist Philippe Descola or philosopher Timothy Morton, as well as close associates, his son and film director Gorō Miyazaki, and Toshio Suzuki, his longtime producer and friend, bring us closer to this tireless, obsessive, and mysterious artist.
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