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森英恵蝴蝶之外
八木莉可子,中島裕翔作為唯一一位活躍于“時尚界最高峰”巴黎高級定制領(lǐng)域的日本設(shè)計師，森英惠女士終生致力于向世界傳遞“日本優(yōu)雅”。蝴蝶主題作為象征品牌的設(shè)計風(fēng)靡全球，她本人亦被親切稱為“蝴蝶夫人”。2026年正值這位英惠女士誕辰100周年。值此節(jié)點，由實力派年輕演員八木莉可子主演，將她鮮為人知的青春歲月故事搬上熒屏。 以豐富色彩與優(yōu)美設(shè)計迷倒全球女性的森英惠女士，其于戰(zhàn)后混亂期從零開始開拓設(shè)計師道路的歷程卻鮮為人知。本作將描繪從島根度過的童年時光，到因親手為孩子制衣而沉醉于西式剪裁，最終作為設(shè)計師綻放才華、進(jìn)軍世界的未知奮斗史。 1926年（大正15年），英惠出生于島根六日市村（現(xiàn)吉賀町），在五兄妹中排行第四。她所呈現(xiàn)的鮮明“色彩”與優(yōu)美“形態(tài)”雖跨越時代令我們感動，但其原點據(jù)說正植根于童年熟悉的故鄉(xiāng)原始風(fēng)景。 歷經(jīng)戰(zhàn)禍，22歲結(jié)婚。為給即將出生的兒子制作衣服而開始學(xué)習(xí)西式剪裁的她，迅速為之著迷，25歲時在東京新宿開設(shè)定制西服店“日吉屋”。此后更涉足電影服裝領(lǐng)域，執(zhí)掌《太陽的季節(jié)》《瘋狂的果實》《彼岸花》《秋日和》《秋刀魚之味》等名作的服裝設(shè)計，奠定了日本電影界“服裝設(shè)計”的重要性。 隨后，到訪美國紐約的英惠目睹日本產(chǎn)服裝被視作劣質(zhì)品的現(xiàn)實，決心向世界傳播日本傳統(tǒng)美與卓越技藝，最終決意進(jìn)軍國際。支撐她成為世界級設(shè)計師的原動力，正是永無止境的挑戰(zhàn)精神、非凡的努力，以及長年無私奉獻(xiàn)的丈夫賢的支持。 此次描繪英惠波瀾壯闊的半生，劇本由執(zhí)筆過晨間劇《怪怪怪的妻子》及大河劇《八重之櫻》等多部劇集的山本睦美擔(dān)當(dāng)。在徹底考證史實的基礎(chǔ)上，作品將點綴從在島根原野奔跑的少女時代到飛躍世界的未知軼事，編織她所追尋的夢想。當(dāng)然，蝴蝶設(shè)計的誕生秘辛亦將呈現(xiàn)。
巴勒斯坦36
杰瑞米·艾恩斯,羅伯特·阿拉馬約,利亞姆·坎寧安,比利·豪爾,克里斯托弗·維利爾斯,西婭姆·阿巴斯,薩姆·霍爾,雅絲敏·艾瑪斯利,尼古拉斯·莫斯,Mo'min Swaitat,薩萊·巴克里,尤娜·馬爾萬,達(dá)弗·阿比丁,索菲亞·達(dá)努,Aya Khalaf,Joanna Arida,喬治·斯梅爾,卡梅爾·埃爾·巴沙,亞當(dāng)·勞倫斯,亞亞·馬黑尼尤瑟夫每天都往返于他的農(nóng)耕村莊巴斯瑪和他在耶路撒冷城里的工作之間，滿懷熱情地努力在瞬息萬變的現(xiàn)代世界中尋找自己的位置。他年輕而躁動，更渴望擺脫鄉(xiāng)村生活的束縛，而不是被卷入其中的種種煩惱。尤瑟夫的故事與年輕寡婦拉巴布和她的女兒阿芙拉、粗獷的領(lǐng)袖哈立德、鞋匠兼當(dāng)?shù)厣窀缚ɡ锬返膬鹤右约盎盍λ纳涞亩际腥撕R德和她的商人丈夫阿明的故事交織在一起。
小前提
Sathya Sridharan,帕頓·阿什布洛克,達(dá)納·艾希布魯克Attempting to surpass his father's legacy, a reclusive neuroscientist becomes entangled in his own experiment, pitting ten fragments of his consciousness against each other.
絕世好Bra
古天樂,劉青云,梁詠琪,劉嘉玲,李珊珊,青山知可子,卓韻芝,莫文蔚,谷祖琳,馮德倫,田蕊妮,譚耀文日本著名胸圍公司的香港區(qū)總裁Samantha（劉嘉玲 飾）破例聘請了Johnny（劉青云 飾）和Wayne（古天樂 飾）兩名男設(shè)計師。他們的上司高級設(shè)計師Lena（梁詠琪 飾）覺得他們根本無法勝任這份工作，因此常常刁難他們。公司要求他們設(shè)計出一款“絕世好Bra”，可是多次失敗。 在工作的過程中，Johnny和Wayne分別與Smantha和Lena產(chǎn)生了感情，最后他們也在各自女友的幫忙下，才最終把“絕世好Bra”設(shè)計成功。
牧群
The first feminist vegan horror film, The Herd has been rejected by some film festivals for being too horrific or political. A number of kidnapped women are kept imprisoned in a squalid medical facility condemned to a life of enforced servitude at the whims of their captors, without any hope of rescue or escape.
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.