童话公主的罪与罚
主演:Elize Matsunaga,Stephanie Sherry
完结
剧情: 一起犯罪震惊了巴西:伊利丝·松永枪杀并肢解了她的丈夫。这部纪录片深入探讨了该案件,其中包含对伊莉..
童话公主的罪与罚
主演:Elize Matsunaga,Stephanie Sherry
完结
剧情:《大使家宴》是由海南省外事办公室倾力指导,海南卫视首创推出的中国首档驻华大使生活纪实节目。 海南卫..
大使家宴
主演:未知
完结
剧情:Nearly 100 years after its creation, the power of..
金钱无用:深入美联储
主演:列维·施瑞博尔 Liev Schreiber,Paul Volcker,Janet Yellen
完结
剧情: 集合了亚洲各地10位当红名模,由MaggieQ监制,包括台湾甜姐儿林志玲都入镜的“LoveAs..
亚洲之爱
主演:李美琪,林志玲
完结
剧情:《西去东来》共分“语言的力量”“文化的命运”“春天的脚步”“大象原无形”“美丽的差异”“未来的呼唤..
西去东来
主演:李野墨(解说)
完结
剧情:It is 1939 and Europe is on the brink of war. Hit..
从纳粹手中救出的孩子们
主演:Joe Schlesinger
2018年5月和6月,Jean Gabriel P_Riot与位于Ivry Sur Seine的一所高中的10名电影班学生合作,开展了一项将电影与政治结合起来的项目。学生们在摄像机前和摄像机后工作,重新布置罢工、抵抗和劳资纠纷的场景,这些电影可以追溯到20世纪60年代末到70年代末,包括让-卢克-戈达尔和阿兰-坦纳的电影。nos d_faites汇集了调查结果,并增加了采访,在采访中,导演询问学生他们刚刚表演的场景,关于“阶级”、“工会”和“政治参与”等概念,以及更广泛的社会背景。这是一个简单,但尖锐的设置,让观众一瞥年轻一代如何看待政治和过去的政治电影。这部影片还记录了导演试图激怒学生的企图。在导演和学生似乎处于平等地位的遭遇中,基于从未见过的导演更多类似于老师的提问,以及此时此刻对革命的思考:起义的表现反映了同样的情况。这会导致一个真实的发生吗?
In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “labour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real?
回到1968年的电影时代,继续对重放从过去跳出来的电影节选的年轻人进行今天的采访,我们的失败描绘了我们当前与政治的关系。我们的失败,还是我们有足够的力量来面对今天的混乱?
By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?