搜索"Ivan" ，找到 部影视作品
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《黑鸽》是一部以圣诞节的伦敦为背景的动作剧，讲述了一个关于友情与牺牲的尖锐又感人肺腑的故事。剧集的主角是海伦·韦布（凯拉·奈特莉饰），她是一位机智、务实且尽职尽责的妻子和母亲，也是一名职业间谍。10 年来，她一直将政治家丈夫的秘密传递给她为之效命的神秘组织：黑鸽。当她的秘密情人贾森（安德鲁·浩二饰）被暗杀后，她的间谍上司、神秘的里德（莎拉·兰卡夏尔饰）指派她的老朋友萨姆（本·卫肖饰）来保护她。海伦和萨姆联手展开调查，试图查明杀害杰森的凶手及其背后的动机。而他们的调查逐渐揭开了一个庞大而错综复杂的阴谋，这个阴谋将伦敦阴暗的地下世界与迫在眉睫的地缘政治危机联系在一起。
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影片由基里尔·谢列布连尼科夫（《彼得罗夫的流感》《盛夏》）执导，帕维乌·帕夫利科夫斯基（《修女艾达》《冷战》）编剧，根据法国作家埃马努埃莱·卡雷尔撰写，描绘俄罗斯激进诗人、持不同政见者爱德华·利莫诺夫的传记小说改编。小说有着这样一段描述，“激进苏联诗人的骇人冒险：一个纽约的流浪汉、一个引起法兰西轰动的人、一个俄罗斯的政治人物”。
利莫诺夫个人生活极富传奇色彩，在曼哈顿他是富豪的管家，在巴黎他是作家，在俄罗斯他则是布尔什维克党的政党领袖。影片对白语言会根据拍摄地俄罗斯、纽约、巴黎的变换而对应转变。
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一场史无前例的狂犬病疫情正在针叶林中爆发。 被感染的狼变得越来越凶猛，咬一口必死无疑。 与此同时，一位绝望的父亲决定将他的儿子强行隔离在其中一个狩猎小屋中。 很快，他和几位当地居民不仅要与狂犬病狼群作战，还要与森林中最危险的掠食者作战。剧情取材于2019年发生在俄罗斯阿穆尔州的真实事件
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彼得·格林纳威1987年作品，英国学院奖最佳编剧、最佳美术指导提名；戛纳参赛片。导演是画家出身，其作品的影像风格自然都是别具一格的色彩斑斓。 美国建筑师Stourley Kracklite和他已经怀孕的年轻妻子Louisa来到罗马组织一个纪念18世纪富于幻想力的法国建筑 师Etienne-Louis Boullée的展览。然而Kracklite却被腹疾所折磨，Louisa则与身为展览赞助者的潇洒的年轻建筑师Caspasian Speckler眉来眼去。电影有个特别的焦点，肚皮——建筑师生病的肚皮和妻子怀孕的肚皮，圆滚滚的形状直让人想起Boullée设计的那些圆顶建筑……
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本片改编自真实事件，利用多线叙事的穿插，将三个时空的故事人物命运交织在一起。描述了波黑战争时期军人马尔克“意外”死亡的十二年后，伤痛依旧延绵不断地影响着每一位曾参与其中的加害者与被害者。
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Mara, an ancient pagan spirit, hunts a group of teenagers taking their body parts to be reborn. A disillusioned and desperate investigator has to face his deepest fears to save the teenagers.
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与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
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艾蜜莉（卡梅隆·迪亚兹 Cameron Diaz 饰）和马特（杰米·福克斯 Jamie Foxx 饰）这对夫妻档原是中情局探员，退隐多年后，他们养儿育女的平凡生活恐将不保，随着身份曝光，夫妻俩这下子必须重出江湖。
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An Aeroplane hijack where a soldier helps the passenger and fight against the terrorist. But the damage to the flight engine made it very tough to survive the situation.
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Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.