血战青龙寨
1.0 |05月20日 |片长88 |HD国语
简介:
  解放初期匪患肆虐,解放军侦察排长向阳奉命前往三湾里剿匪,乔装潜入时竟与已是清风寨三当家的亲哥向天重逢。兄弟二人因立场相悖,在情义与信仰间激烈交锋,向阳强忍纠葛卧底匪寨,智取情报、烧毁粮仓,与战友里应外合展开围剿。面对龙瞎子等匪首的残暴反扑,向阳带领部队浴血拼杀,在哥哥向天的牺牲帮助下,最终彻底剿灭清风寨匪帮。血与火的较量后,这片土地终于迎来和平曙光。
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简介:

七岁的诺拉(玛雅·凡德比克 Maya Vanderbeque 饰)心里充满了对未知的恐惧,她迎来了人生中的第一次上学经历。与此同时,她的哥哥亚伯(冈特·杜瑞特 Günter Duret 饰)虽然看起来在学校表现得很自信,但他内心也有着烦恼和困扰。亚伯身为哥哥,一方面需要照顾妹妹,另一方面却有自己的难题需要面对。当上课的铃声响起时,诺拉感到了一种前所未有的紧张。她要学会在陌生的环境中与陌生人交流,不仅要勇敢地向同学们介绍自己,还要克服游泳和走平衡木等新挑战,这让她感到有些不知所措。下课后,诺拉偶然发现了哥哥亚伯的一个小秘密。她想告诉爸爸,但却被哥哥强烈要求保密。这个意外的发现让诺拉感到十分困惑,她开始思考应该如何处理这个情况,同时也担心哥哥为什么要对她保密。这个小型社会中的学校生活,对兄妹俩来说充满了挑战和考验。他们需要面对课堂上的学习压力,同时还要处理同龄人之间的关系。在这个过程中,诺拉能否找到自己在校园中的归属呢?

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简介:A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.  Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.
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