戲里訴說(shuō)了一個(gè)剛出獄的父親回到家里是,發(fā)現他11和15歲的兒子在被他們的母親拋棄了之后如何自力更生。 《狂人比爾》導演處女作,一部真實(shí)描寫(xiě)倫敦東區現狀的英倫黑幫電影。比爾.海沃德是一個(gè)毒品販子,坐牢八年后回到故地,下定決心要開(kāi)始新的生活,然而作為監護人他首先面對的是如何處理他的兩個(gè)未成年的兒子:15歲的迪安和11歲的吉米,在被媽媽拋棄后,兩個(gè)孩子獨自艱難生存,已經(jīng)與當地黑幫混在一起。
《親愛(ài)的們》是一部由阿莉雅·布哈特,維杰·維瑪,莎法莉·什提,Roshan Mathew,Vikram,Inayah Chowdhry主演的喜劇片,上映于2022(印度)的親愛(ài)的們是由Jasmeet K Reen導演執導,目前親愛(ài)的們的綜合評分達到3.0分,從親愛(ài)的們評分來(lái)看,可見(jiàn)Jasmeet K Reen執導的喜劇片親愛(ài)的們看點(diǎn)十足,親愛(ài)的們劇情是巴德魯本希望喜怒無(wú)常的丈夫戒酒后會(huì )洗心革面。但丈夫的暴躁令人忍無(wú)可忍,于是她和母親大膽而又笨拙地展開(kāi)報復。
Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
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