距苏门答腊海峡1700海里,一名远赴印度洋独自航行的男子(罗伯特·雷德福 Robert Redford 饰)绝望地喃喃自语,在这里,似乎一切尽失。8天前。仍在睡梦中的他遭逢连番劫难,先是驾驶的帆船与一个掉入海里的集装箱相撞,再是船舱无法遏止地进水,无以修复。随之而来的厄运,如海上的暴风雨般席卷了他的一切生机。导航和无线电报废,失去所有对外联络的装备;暴雨倾盆,惊涛骇浪肆无忌惮的侵袭着他赖以生存的轮船。这位原本足智多谋的老水手只得弃船求生,而皮筏周围紧紧围困着他的鲨鱼们,更虎视眈眈地伺机觅食。不仅如此,极度的饥饿感正时刻折磨着他的肠胃,消磨着他的意志。死亡的脚步一步步的向他逼近,直到结束。
本片荣获2014年第86届奥斯卡金像奖最佳音效剪辑提名,并荣获2014年第71届金球奖最佳电影配乐及剧情类最佳男主角提名。
霍金(埃迪·雷德梅恩 Eddie Redmayne 饰)和简(菲丽希缇·琼斯 Felicity Jones 饰)相识于一场舞会上,两人初次见面交谈甚欢,颇有一番相见恨晚的意味。之后,霍金大胆的邀请简参加舞会,二人以此为契机,陷入了热恋之中。
不幸的是,一次昏迷令霍金被确诊患上了罕见的肌萎缩性侧索硬化症(ALS),医生坦言他只剩两年的生命,被病魔折磨的霍金陷入了抑郁之中,然而简并没有因此而抛弃他,恰恰相反,几经波折之后,两人踏入了婚姻的殿堂,简还为霍金生下了一个活泼可爱的孩子。霍金的身体迅速的虚弱下来,与此同时,他在学术研究上却取得了一个又一个成就。为了照顾霍金,简心甘情愿成为了他“背后的女人”,但是,这也恰恰成为了两人幸福婚姻里的第一道裂缝。
Appropriately, her own 14th arrondissement (specifically Rue Daguerre) is a source of pleasure for the protagonist (Jasmine Thiré) and viewer, having been photographed carefully, beautifully, and lovingly. The first word that this all brought to mind way “playful,” and I’m pleased that my simple descriptor is something Varda would consider appropriate. Says her, “It’s playing a game with reality. The game is called cinema.”
莎拉(索菲爱·察尔洛特 Sophie Charlotte 饰)和玛丽(Felicia Ruf 饰)是一对认识了很多年的好友,彼此之间的友谊和信赖非常的深厚。然而,随着时间的推移,莎拉发现自己对于玛丽的感情渐渐变了质,从单纯的友谊逐渐转变成为了复杂的爱意。
在一次度假中,莎拉终于无法压抑自己内心里汹涌的感情,向玛丽表露了心迹,面对莎拉的示爱,玛丽感到非常的矛盾,一方面,她对于莎拉并没有什么其他的心思,与此同时,她已经有了一位正在稳定交往之中的男友本。玛丽知道,如果自己拒绝了莎拉,那么后者一定会就此消失在自己的世界里,这是玛丽并不愿意见到的。
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
On a class trip, five friends are kidnapped by an evil doomsday cult seeking to achieve immortality with an ancient pagan artifact – and who will stop at nothing to do it...
Berlin students Ben, Jonas, Leo, Ozzi and Sophie are on a class trip to "boring" Hildesheim. Their schedule includes visiting the medieval cathedral and witnessing a complete solar eclipse, but destiny intervenes… A bomb goes off at the cathedral and the students are evacuated by the police, only to find themselves in the clutches of an occult secret society calling themselves the Lunaris Cult, who aim to use an ancient pagan artifact, the Irminsul, to harness the vital force of their teenage captives and use it for their own purposes on the eclipse. The evil cultists are after immortality and divine power, and are even prepared to sacrifice the friends' lives.
Ben and his gang manages to escape. Chased from one danger to the next, the cultists pursue them, closing in on them more and more. The fanatics have it all planned out, it seems, leaving nothing to chance. They disable the cell phone networks and satellite connections, leaving the friends to fend for themselves …