1.0
丹麦小村教堂
其它1947其它
添加:未知
主演:Ib Koch-Olsen
简介:  The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.  Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.  The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus ("The Church Is an Old House"), which was distributed to the members of the committee for their comments.  In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.  On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.  Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.  The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
743
详情
9.0
第七封印
其它1957其它
添加:未知
主演:古纳尔·布约恩施特兰德,本特·埃切罗特,尼尔斯·波普,马克斯·冯·叙多夫,毕比·安德松,英加·吉尔,毛德·汉松,因加·朗格里,古内尔·林德布洛姆,贝蒂尔·安德贝里,安德斯·埃克,奥克·弗里德尔,古纳尔·奥尔松,埃里克·斯特兰德马克,Siv Aleros,斯滕·阿登斯坦,哈里·阿斯克隆德,本克特-奥克·本特松,凯瑟琳·贝里,莱娜·贝格曼,托尔·博龙,古德龙·布罗斯特,本特·伊尔贝里,拉尔斯·格兰贝里,贡勒格·哈格贝里,托尔·伊塞达尔,乌尔夫·约翰松,乌诺·拉松,伦纳特·利亚,拉尔斯·林德,戈东·勒韦纳德勒,
简介:  海滩边,巨浪滔天,英武的骑士布洛克(马克斯•冯•西多 Max von Sydow 饰)与黑衣死神(本特•埃切罗特 Bengt Ekerot 饰)摆下了一盘生死棋局。在下棋的过程中,骑士在回顾自己的人生,所见所闻暗合圣经的图景。十四世纪十字军东征后期,欧洲大陆瘟疫蔓延,民不聊生。布洛克曾遇到过马戏团的一对夫妻,丈夫笃信神明,无比虔诚,妻子则更加现实,唯命是从。他们的相濡以沫让幸福唾手可得。骑士在树林中邂逅了铁匠夫妇。铁匠非常粗鲁,他的妻子很是风骚,他们在树林里对着路人演出双簧,仿佛一对可笑的傀儡。最后,在经历过集体膜拜的祭奠仪式后,武士和他的朋友们再次遇到了死神,曾经的无助与恐惧,愤怒与怀疑,都化作了人生的诘问……  本片获第10届戛纳电影节评委会大奖。
724
详情
7.0
第七日,第八夜
其它1969其它
添加:未知
主演:扬·利比切克,瓦茨拉夫·巴布卡,约瑟夫·贝克,Karel Belohradský,Bozena Böhmová,尼娜·蒂维斯科娃,Josef Elsner,Josef R. Engel,科维塔·菲亚洛娃,Ladislav Gzela,Karel Hovorka,弗拉迪米尔·赫拉巴内克,伊日·哈莱克,Vladimir Jedenáctik,Pavel Jiras,Jan Kacer,Václav Kotva,伊里·里拉,雅罗斯拉夫·马雷什,Josefa Pechlatová,伊里·普拉希,Ljuba Sko
简介:  This apocalyptic parable carries within it a clear echo of the 1968 invasion of Czechoslovakia. This unforgiving exploration of the Czech mentality tells the tale of a troupe of wandering actors who perform a passion play in some unnamed village. Fear of some unknown danger breaks out in the village, which is cut off from the surrounding world. Stupidity, selfishness and aggressiveness then come to the surface in this society under threat. In the film's key scene, a woman is raped by the self-styled leader. Zdenuk Mahler, who would later work on Forman's examination Mozart Amadeus, worked on the script.  The director Evald Schorm (1929-1988) was one of the most original members of the Czech "New Wave". During the "normalization" era, Schorm spent many years unable to direct. His last film, Killing with Kindness (1988) was only made in the twilight years of Communism. During that period when he was unable to direct films, he became an outstanding stage director. He directed groundbreaking productions at the "Na zábradlí" Theater and Laterna Magika.
563
详情
3.0
德拉克的回归
其它1968其它
添加:未知
主演:拉多万·卢卡夫斯基,古斯塔夫·瓦拉赫,艾米丽娅·瓦萨约娃,威廉·波洛尼,Jela Buckova,Jozef Cierny,Pavel Chrobak,米库拉斯·洛迪津斯凯,Ivan Macho,Ján Mildner,Andrej Mojzis,Jan Pelech,卢多维特·赖特尔,斯特凡·克维季克,Milan Mach
简介:  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).
508
详情
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