长路归家

简介：

前所未见的家庭影片和非凡的个人档案揭示了克里斯托弗·里夫是如何从默默无闻的演员成为终极银幕超级英雄的标志性电影明星的。 克里斯托弗·里夫在一次悲惨事故中四肢瘫痪，只能依靠呼吸机呼吸，此后他作为一名活动家领悟到了英雄主义的真谛。 电影制作人伊恩·邦霍特（Ian Bonhôte）和彼得·埃特迪吉（Peter Ettedgui）巧妙地将时间前后推移，编织出双重叙事，探讨了克里斯托弗·里夫职业生涯中两个关键时刻对人生的改变：1978年出演《超人》和1995年瘫痪。 在超级英雄席卷影院的几十年前，里夫让世界相信人类可以飞翔；他的意外事故让全世界关注残疾。                                                                      　　在《超/人》中，里夫的亲友对事故前后的生活的反应非常真诚。 这部影片深深地打动了观众，突出了超人背后的那个人——这不是一部传记，而是一幅完整的肖像，涵盖了里夫人生旅途中的辉煌和黑暗。

简介：

Follows a serial killer who came to light as a psychopath to the Korean public in 2004.

简介：

荣获奥斯卡金像奖的影片《利益区域》是2023年最引人入胜、最受热议的电影之一，影片聚焦于奥斯维辛集中营指挥官鲁道夫·霍斯及其家人，他们居住在距离暴行发生地不远的令人毛骨悚然的地方。《指挥官的阴影》则讲述了汉斯·于尔根·霍斯在父亲留下的可怕遗产面前，最终面对自我反思的故事。现年87岁的汉斯首次与奥斯维辛幸存者、著名大提琴家安妮塔·拉斯克-瓦尔菲什会面。八十年前，安妮塔在集中营中挣扎求生的经历，与霍斯在铁丝网另一侧幸福的童年形成了鲜明的对比。在安妮塔的客厅里，两人带着各自的孩子，进行了一次亲密而又引人入胜的会面。他们坦诚地讲述了各自不同的故事，提出了关于罪恶与宽恕的永恒而深刻的问题。

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暂无简介

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In 1995, a Louisiana college student discovers a disturbing truth about herself through a textbook, leading to revelations about psychological experiment on twins. Her personal medical records expose lifelong lies from loved ones.

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　　Top Gear，是由BBC出品的一档汽车娱乐节目，自2002年改版推出，至今已经25季。脑回路清奇的创意、疯狂在燃烧的经费、堪比好莱坞的制作，它被称为全世界最好的汽车秀。本次，Top Gear第25季将于2月26起，在bilibili全网独播，每周一10:00更新一集，前24季也将陆续上线。不解释了，赶紧上车吧。

简介：

他们是罪犯，其中一些甚至是酷刑者和大规模屠杀者：据称，国家社会主义者和法西斯分子的高层自1945年以来一直在逃避盟军的制裁。但胜利者们对道德和正义却不那么关心。美国中央情报局招募了众多前纳粹领导人和意大利法西斯分子作为特工，在全球范围内开展反共产主义行动。他们渗透到德国最高政府机构，在南美亲美的军事独裁政权中组织酷刑、暗杀小组和情报机构，并参与了意大利的政变企图。

简介：

随后联邦调查局逮捕了欧文·汉森，他曾是南加州大学的橄榄球运动员，后来成为毒枭。

简介：

　　The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema.
　　Alexander Kluge: The Power of Feeling
　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster.
　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public.
　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim.
　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

简介：

这部纪录片讲述了澳大利亚首批钻头说唱明星在警方禁止他们进行表演的情况下，通过抗争而逐渐崛起的过程。

简介：

汉普顿当地人艾弗里、弗兰基、哈布塔穆、里德、埃米莉、亨特和朱丽叶都想度过一生中最美好的夏天，但当城市新人伊兰搬到那里过夏天时，情况发生了变化。

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