备注:HD中字
类型:电影
主演:纳嘉·乌尔,Inka,Friedrich,安德烈亚斯·施密特,Stefanie,Schönfeld,文森特·莱德特茨基
导演:安德里亚斯·德里森
地区:其它
年代:2005
简介:多得有妮可(纳嘉·乌尔 Nadja Uhl 饰)家中的那个小阳台,她和邻居兼死党凯琳(英卡·芙德瑞Inka Friedrich 饰)得以互诉心事,消解夏天烦躁,细品人生况味。每个清风习习的傍晚,妮可和凯琳都在阳台上喝可乐和酒。妮可每天都细心照顾独居老人,而未婚妈妈凯琳为儿子的学业爱情操心,没有好工作、好伴侣的两个好姊妹,在这里幻想着新感情的出现。 他终于出现了。是一个货车司机,名叫罗纳(安德雷斯·施密特Andreas Schmidt 饰),妮可内心的感情在萌芽。罗纳肯定是一个优秀的专一的伴侣——妮可一度这样认定。罗纳搬到妮可家中住下,也慢慢走近了邻居凯琳的生活,三个人之间的感情纠葛渐渐升级。凯琳和妮可甚至有了争吵,和谐的关系似乎渐渐远去。其实,这个夏天的妮可阳台的风景,还远未结束呢。
备注:HD中字
类型:电影
主演:赵在铉,张东直,Ryun,Jang,Sasha,Rucavina,Richard,Bohringer,Denis,Lavant
导演:金基德
地区:韩国
年代:1997
简介:在巴黎,青海(曹在显饰)是名来自韩国的年轻人,他靠小偷小骗谋生。洪山(张东直饰)是个来自朝鲜的逃兵,同是非法移民身份的两个人,由于青海偷窃了洪山的东西而结识,并开始了一份兄弟友情。偶然机会,青海认识了一位同落难的白人女子考林,她依靠着一个法国流氓生存,生活困苦。 之后黑社会老大赏识洪山,便招其为手下,而两个替黑社会老大卖命的人也失去了自由。因为考林的缘故,青海几次背叛了洪山。最后他们一起被扔进了海中,异国他乡的命运就如此完结了么?…
备注:HD中字
类型:电影
主演:许冠英,陈琪琪,林正英,古国华,唐晶
导演:吴宇森
地区:香港
年代:1980
简介:阿英(许冠英 饰)和肥波(古国华 饰)两人自小一起长大,情同手足;长大后,两人一起到了汽水厂里当了维修工。虽然收入卑微,家境贫寒,但是两人却也其乐融融。一日,两人合伙一起买六合彩,不料真的中了头奖,两个穷光蛋一夜间变成了百万富翁。 当红影星琪琪(陈琪琪 饰)一直是阿英的梦中情人,有钱后的阿英很快和她交上了朋友。岂料琪琪看中的只是阿英的钱,看出了端倪的肥波多次劝诫阿英,被迷得晕头转向的阿英没有听从肥波劝告,反而觉得肥波在嫉妒自己,两个好友由此交恶。琪琪骗得阿英所有财产后,忽然消失了,阿英刹那间又变回了穷光蛋……
备注:HD中字
类型:电影
主演:琪恩·亚瑟,爱德华·阿诺德,雷·米兰德,路易斯·阿尔伯尼,玛丽·纳什,富兰克林·潘伯恩,Barlowe,Borland,威廉·德马雷斯特,Andrew,Tombes,Esther,Dale,Harlan,Briggs,威廉·B·戴维森,Nora,Cecil,Robert,Greig,斯坦利·安德鲁斯,格特鲁德·阿斯特,Richard,Barbee,本尼·巴莱特,Wilson,Benge,李·鲍曼,
导演:米切尔·莱森
地区:美国
年代:1937
简介:在大萧条期间,一位富有的银行家扔掉了妻子昂贵的皮大衣;它落在了速记员的头上,导致每个人都认为她是他的情妇,可以得到他的数百万美元。
备注:HD中字
类型:电影
主演:Nantawooti,Boonrapsap,Sasisa,Jindamanee,Pimchanok,Leuwisetpaiboon,Richard,William,Lord,Johnny,Nguyen
导演:Krissanapong,Rachata
地区:泰国
年代:2009
简介:Lek老師(Arun Phawilai飾)是一名泰拳敎練,一直敎導着一班小孩子泰拳以自我防衛,他們是Wuth(Nuttawuth Boonrapsap飾)、Catt(Sanisa Chindamanee飾)及Pong(Paethaiy Wongkumlao飾)。他們3個人必須照顧擁有心疾的Wun(Darun Tantivichitvej飾),Wuth的弟弟。 因為Wun突然心臟病發而必須進行緊急的心臟轉移手術,所以他們來到了一個被國際恐怖組織首領Peda(Johnny Ngian)所控制的醫院。 無可避免地,他們必須捲入這場醫院的嚴峻考驗,英勇小孩及殘忍恐懼份子之間的激烈打鬥就在這里發生……
备注:HD中字
类型:电影
主演:萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming
导演:埃里克·冯·施特罗海姆
地区:美国
年代:1919
简介:Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.