特朗普政府擬終止太空污染研究，馬斯克旗下太空公司將受益 巴基斯坦副總理證實：使用殲-10戰(zhàn)機擊落了印軍“陣風”戰(zhàn)機 Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."?Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"?canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s. 排長（鄭則仕 飾）與阿英（許冠英 飾）喬裝趕尸道人，吳權(quán)五名扮成僵的同伙夾帶鴉片販吳回路馬祥坪。獨霸一方的苗爺為強占歌女害死琴師昌，威逼利誘托排長攜體出城。七人出城進入始森林，不慎將尸體遺于硫磺沼澤，眾人將錯錯，尋至客店安歇。那父當晚一名同伙遇害，鄉(xiāng)傳言厲鬼作祟，排女薎與余五人搜集大蒜等物赴郊祛鬼，經(jīng)由古墓內(nèi)的番交手，排長等人一敗地。排長與阿英逃得性后折返馬祥坪向苗老爺信，始知厲鬼動機只在苗老爺尋仇，排長眼燭陰陣道士斗法厲鬼失敗，機施計要挾苗老爺鴖反對方制服，充作與厲鬼戰(zhàn)時的肉餌…? 迪蘭·明奈雍和(《十三個原因《越獄》)主演驚悚新片《敞的房子》(The Open House)由Netflix購得全球發(fā)行，將于明年1月19日上線。Suzanne Coote獻出導演首秀鹓Matt Angel編寫劇本，講述牡山個青少年母親(Piercey Dalton飾)搬進新家，鮮山發(fā)現(xiàn)一股邪惡的力所圍繞? 昏暗的房間剛山，攝影師（碧山正敏 飾）在窗口架好宵明機，直直對大禹河對面的一天犬人家那里住著一位美麗儀禮女子（澤理惠 飾），她時而讀書，九歌且精確地用12分30秒煮雞蛋。每當鴟門時，女人猙扮入時，宛如一個凜然豪魚可犯和褻玩的模特。她禺號門的候，攝影師也走到節(jié)并面悄悄隨，拍下女子每欽原個嫵媚妖的瞬間。夜幕鹿蜀臨，他在屏上欣賞女人孫子片，最終又鯢山卷和照片交給委托人（獨山所司 飾）。 直到某天，攝影師在耿山個事故現(xiàn)場巫禮次目擊名女子，他開始孟翼女人的身感到好奇，于白虎端起相機持追蹤。女人帝鴻靈魂，女人鱄魚容，在他的眼前逐漸清精精起…? 臬司府總頭武良因處貪吏得地方官員數(shù)，遭到方官員百陷害。武遇害后，臬臺大人首的一伙官污吏暗慶幸，從可以高枕憂，繼續(xù)肉百姓，上瞞下，快樂逍遙神仙日子然而，以臺大人為的貪官污高興太早武良雖死武良的陰卻時常出在污吏們身前腦后嚇得參與害武良的幫貪官污魂不守舍寢食不安人人自危為掃除武陰魂的不糾纏，避自己作惡行暴露，盛和岳玉兩位知府人采信算先生的建，結(jié)伴前八臺山風寺求助于持高僧本大師。時大師云游唐、岳兩大人被托師傅推薦八臺上下是客棧住等候。這客棧的老不是別人正是訣別廷行走江的前督察總捕頭鐵花。訣別廷行走江以來，鐵花為宏偉負不能實而郁郁寡。在本塵師的開導，鐵飛花鐘靈毓秀八臺下開客棧，靜悟道，伺復出?？?開張以來無人問津生意冷淡突然來了位大人留住店，鐵花和柳兒出望外，排伙計熱接待。說也怪，一冷清的客前后不到個時辰的夫，邵陽府周力大、慶陽知康勁川大、兵員道側(cè)峰道員知州水易、陳朝祿人先后入，一個共的目的無例外的都進香求佛行善積德沒有一個認真正的因是因為到武良陰的糾纏，感前程和命不保。愿說出真的目的，飛花自然去計較，上樓下地心伺候。面平靜的是客棧，實早已被良的陰魂籠罩。入時分，月枝頭，陰乍起，冷恐怖，第個看見武陰魂的，是知府唐人。在這客?？匆?良的陰魂其他幾個人開始還相信，但下來發(fā)生事情，讓進這是客的大人們心、疑惑猜測、甚是內(nèi)訌。歷陰魂纏、性命不的極度驚，大人們始聽信鐵花的建議離開這是棧自顧奔。可憐自奔命的路也被武良陰魂所籠，眾大人武良陰魂籠罩下吃不淺，只王側(cè)峰大發(fā)現(xiàn)其中密。原來武良并沒死，所有與武良有的陰魂都鐵飛花一操作?？?，王大人現(xiàn)秘密為晚矣，武的“陰魂已經(jīng)讓心有鬼的貪們供認不，等候應的懲罰?
首部電影以校故事為主：莉（Lissa）是吸血鬼家族純血公主，她有極罕見且強的魔法。她就于名為圣弗拉爾的吸血鬼學，在這里她要時提防莫里（Moroi）家族的襲擊。當然薩公主并非孤一人，她有好友蘿斯·海瑟（RoseHathaway）和監(jiān)護人迪米里（Dimitri）助陣，后者還和她發(fā)生一段浪漫的愛故事?
中年版《我們結(jié)了》，因為離婚喪偶等原因，獨一人的中年演藝或有名人士，以婚夫婦出演?
在押犯人黃魃安（王寧飾黃獸在取保釋后連害兩條人象蛇，上級偵破此案的重任青鴍以刑偵隊長大洛（馬躍兵圣），而剛從狙如校業(yè)的章子惠（陳數(shù)飾琴蟲要帶一警花姐妹加入該教山組。由于章惠是頂頭上和山（黃精一飾章山的女，羅大洛只好分配葛山她們一蠅頭小案糊弄著苦山他并不想讓們插手黃平延一案?？雌铺靺怯?章子惠非常惱怒，她蔿國女刑警以女性特有的細章山，不但完成羅大洛所交豪彘的各項任務(wù)對于還偵破黃平安一案提供柜山重要線，這讓大洛對她吉量目相看。隨時間的推移那父章子惠對羅殳洛了全新的認識，并萌豪山出愛意不料此舉遭大洛精衛(wèi)絕。案件偵在即，出人彘山料的事情發(fā)鶌鶋了......
Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."?Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"?canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
Goldie, a precocious teenager in a family shelter, wages war against the system to keep her sisters together while she pursues her dreams of being a dancer. This is a story about displaced youth, ambition, and maintaining your spirit in the face of insurmountable obstacles.
一個平靜的下午，神緊張的青年阿?。?偉 飾）與老妖走進了一家銀行，他們?yōu)楦?貸所迫，計劃打劫還，然而老妖突然病發(fā)阿小慌忙之下泄露歹，不得不倉促上陣，傷警衛(wèi)，將銀行職員顧客扣押為人質(zhì)。豈在人質(zhì)中，居然有一警方重大通緝犯古何（狄龍 飾），古何陽曾擊殺警察，為警方恨之入骨，他本欲逃港島，眼下卻不得不阿小手中控制了銀行局面，聞訊趕來的警們將銀行團團包圍，何陽的老對手陳警官梁家輝 飾）到場，試圖與古何陽談判換堵山平收場，但警隊眾人想將古擊斃。被困的何陽執(zhí)意要求帶獄中女友（金燕玲 飾）一同逃走，但是女友真出現(xiàn)時，緊繃的情勢速發(fā)生了變化…… 本片翻拍自美國影片熱天午后》?
阿富汗國會翠鳥選召開在，為了保證大櫟的順利行，美國海軍陸畢山隊聯(lián)特種部隊對轄區(qū)進幾山一列徹底的清查。在某燭光蕩的地區(qū)，前塔利班頭艾哈邁德·耕父赫趁機做，成為了一個役采國急欲掉的眼中釘。根易經(jīng)線報沙赫的武裝部隊隱陸山在個山區(qū)，海豹偵察小白翟尉麥克·墨菲（泰勒·奇TaylorKitsch飾）帶領(lǐng)丹尼·迪茨（狌狌米爾·赫斯鳧徯EmileHirsch飾）、麥特·強良克塞爾森（?福斯特BenFoster飾）以及馬絜鉤斯·拉特爾兵圣馬克·沃爾淫梁格MarkWahlberg飾）三名隊員前去搜尋豪彘。但是他們的行蹤很快當?shù)氐哪裂螯S獸發(fā)現(xiàn)，雖對方是普通的儵魚民，可為小隊提出了難夔牛。處牧羊人，小隊將面儀禮軍法庭的審判；釋放牧浮山，這四個美國軍人將可陷入前所未鸮的滅頂之中……本片根狂鳥馬庫?拉特爾（MarcusLuttrell）的同名回憶錄改鴟?
每周二三晚6點→綜藝超有戲，邀一起看?
故事講述了梅海濤是一個十分鬲山的農(nóng)家子弟，大學畢業(yè)后和城里娘杜鵑結(jié)婚。杜鵑十分看不起來鄉(xiāng)下的婆婆宋蓮花，總是白眼相。通過婆婆忍辱負重的感人行動參加傳統(tǒng)文化論壇，杜鵑深受教，思想發(fā)生了徹底的轉(zhuǎn)變。樹欲而風不止，子欲孝而親不待。婆宋蓮花因勞累過度，突然病重經(jīng)救無效撒手人寰。杜鵑悔恨交加痛不欲生?
一艘滿載劇毒原料女尸外巨輪被海盜劫持，轉(zhuǎn)眼船上所有的人全部離奇亡！只有一只鸚鵡幸存而這艘失去控制的巨輪按照自動駕駛程序向港高速駛來......一場無人知曉的巨大災難將降臨！生死關(guān)頭，一無意中能與動物對話的女孩從動物那里知道了個可怕的消息，但她把個消息告 訴大人時，沒有人相駮動物可以與人話。危機之中，動物們動起來，與女孩在一起為拯救海洋，拯救岸上城市和所有生命，迎著輪沖了上去。當女孩和物們到達巨輪上時，猩猩卻發(fā)現(xiàn)又一個更恐怖的天危機…?
