Pandu
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李·H·卡金
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Almost in breadth and depth of a documentary, this movie depicts an auto race during the 70s on the world's hardest endurance course Le Mans in France. The race goes over 24 hours on 14.5 kilometers of cordoned country road. Every few hours the two drivers per car alternate - but it's still a challenge for concentration and material. In the focus is the duel between the German Stahler in Ferrari 512LM and the American Delaney in Gulf Team Porsche 917. Delaney is under extraordinary pressure, because the year before he caused a severe accident, in which his friend Lisa's husband was killed.
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Scaredoflifeandlackingthecouragetobehimself,Ludovicoliveshiddenawayinhisgrandmother'soldapartment.Onenight,thewickednessoftheworldgoestovisithimintheformofJack,aboywhoisLudovico'sagebuthastheoppositecharacter:hard,determined,perhapscriminal.Theforcedcohabitationoftwohumanbeingswhocouldn'tseemmoredifferentfromoneanotherturnsintoaninitiationritetoadulthood,thediscoveryoftheirtrueandrespectivepersonalities.Andwhentheharshrealitythatismercilesslystalkingthemappearstopresentthebill,theywillhavetofaceit,bolsteredbyanewawarenessandunhoped-forcourage.
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毛里齐奥·扎卡罗
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Successful businessman Thomas (about 55), who has chosen to live in Rome, has dedicated his whole life to his work. When his kind and understanding wife Elisa dies, however, his life takes a turn for the worse. His daughter Beatrice, who has broken off her studies and is now living in a mission in India, is more eager than ever to stay there now that her mother has died. Thomas, who always pictured a sensible life for his daughter, decides to go there himself and fetch her back. The chaotic conditions in India and the misery in the streets is all too much for him, yakubd.cc however, as are the charitable nuns who receive him at the mission. When Beatrice realizes why he has come, father and daughter have a fierce argument. Sister Beth, who supports Beatrice's decision, is a thorn in Thomas's side. Defeated, he leaves the fray # only to find he's missed his flight home. He has to wait a few days more for the next one, and during this time he changes his plans. Dressed in Indian clothing, he ...
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Hamid’s(8)fatherhasgonemissing.HismotherIshrathasturnedindifferenttowardsHamidandtheentireworldaftertheincident.Neglectedandlonely,withaheartsearchingforanswers,Hamidstargazesinthehopeofmeetinghisfather.Thenumber786alwaysbewilderedHamid.OnedayateachertellsHamidthatthisisGod’snumber.Usinghisfather’soldmobilephone,aftertryingdifferentcombinations,he?nallymanagestoconnecttoaperson,whoheisconvincedisGod.OntheothersideisAbhay,ahard-knuckledCRPFJawaan.Hamid’sphonecall,thoughsurprisingat?rst,intriguesAbhaywhoengagesinhumouringHamid.Thesetwo,unknowinglyandunintentionally,changeeachother’sworldforthebetter.
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MónicaadoresherdaughterClara.Oneday,theteenagerisfoundunconsciousandinacoma,acomathateventhedoctorscantexplain.Anxious,filledwithpainanddrivenbydesperation,Monicawoulddoanythingtosaveherandbringherbacktolife.Evensomethingthatcouldcauseunexpectedconsequences...DavidVictoridivesintothesupernaturalhorrorthrillerrealmtopresenthisdebut,andhedoesitbybeingateasewithalltheelementsofthegenre.Heintroducesastorythatshowsthedarknessweallhaveinside,bringingthecharacterstotheemotionalverge.Elegantandfilledwithasuggestiveatmosphere,combiningsubtlehintsandsuspensetraces,thefilmisenhancedbytheperformancesofthecharismaticBelénRuedaandDaríoGrandinetti.Victorihasalreadyachievedalot,heisawinnerofYoutube’sFilmFestivalandmadeawebseries,Zero(2015),whichwasproducedbyRidleyScottandMichaelFassbender.ThePactisyetanotherexcitingnewstepinhisjourneyasfilmmaker.
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
