Arda
搜索"Arda" ，找到 以下影视作品
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Agha
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Azad
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PremChopra
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PreetiGanguli
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里希·卡普尔
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DaljitKaur
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卡德尔.汗
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迪利普·库马尔
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KirtiKumar
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RajendraKumar
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SujitKumar
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AmarnathMukherjee
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PremNath
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Pran
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MadanPuri
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Prem
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Chopra
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Rajendra
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Kumar
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Achild,leftunattendedinatruck,isadoptedbyitsdrivers,MangatandBajirao,andcaredforbyawoman,Buaji.Thechild,amale,isnamedLuckyandgrowsupstreet-smartinthecityofBombay.Whenheattainsadult-hood,hemeetsandfallsinlovewithShanti,andwhenheapproachesherdadforherhandinmarriage,heishumiliatedandaskedtoleave.Luckyswearstow...
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安娜·巴斯克斯
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Toñi,aneccentricgrandmother,getsbybetweenfailedbusinessesandacarefreeattitude.HerdaughterDaniela,astressedexecutiveandsinglemom,wantstokeepheraway.
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大雪纷飞的群山中,一个少年蹒跚倒地,被大雪所埋葬……挪威是冰雪活动的天堂,只管田野掉落变乱层出不穷,也阻拦不了人们前去雪山的热忱。让尼卡（英格丽德·波尔索·贝达尔 Ingrid Bolsø Berdal 饰）!艾瑞克!莫腾（罗尔夫·克里斯蒂安·拉森 Rolf Kristian Larsen 饰）等五个挚友前去偏僻的雪山滑雪,岂料莫腾掉慎摔倒骨折,五人只得找到山上一处放弃的旅店临时休整,期待嫡下山送莫腾就医。已经掉火的旅店因他们的到来规复了一些朝气,但是同时醒来的,另有一个埋伏在黑暗的杀人狂魔……杀人狂令五个挚友遭受了一场恶梦,而他如斯横暴,皆因一段不胜回顾的凄惨阅历……
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Quieresverundramaintensodondeelamor,laverdadyelsacrificioseentrelazanenunacarrera。
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MónicaadoresherdaughterClara.Oneday,theteenagerisfoundunconsciousandinacoma,acomathateventhedoctorscantexplain.Anxious,filledwithpainanddrivenbydesperation,Monicawoulddoanythingtosaveherandbringherbacktolife.Evensomethingthatcouldcauseunexpectedconsequences...DavidVictoridivesintothesupernaturalhorrorthrillerrealmtopresenthisdebut,andhedoesitbybeingateasewithalltheelementsofthegenre.Heintroducesastorythatshowsthedarknessweallhaveinside,bringingthecharacterstotheemotionalverge.Elegantandfilledwithasuggestiveatmosphere,combiningsubtlehintsandsuspensetraces,thefilmisenhancedbytheperformancesofthecharismaticBelénRuedaandDaríoGrandinetti.Victorihasalreadyachievedalot,heisawinnerofYoutube’sFilmFestivalandmadeawebseries,Zero(2015),whichwasproducedbyRidleyScottandMichaelFassbender.ThePactisyetanotherexcitingnewstepinhisjourneyasfilmmaker.
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Afterlosingtheirdadaskids,the3Mannboysreturntothefamilycabineveryyeartorememberhim,butwhentheywalkinontheirmomwithasecretfiance,theirtripbecomesawildtesttoseeifhesMannenoughtojointhefamily.
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Oneweekonacruiseship,withparties,funandnewfriendships.Theall-gayclienteleonboardarepreoccupiedwithtopicssuchasidentity,thebodybeautifulandthesearchforsex.Everyeveningisdedicatedtoanewtheme,challengingthepassengerstoevermoreextravagant,body-huggingoutfits.Inthecabinshowever,thetalkismorethanskindeepasthemenopenupabouttheirprivatelives.Marek,ayoungPolishmanjustwantstobeacceptedandlovedasahumanbeingandnotjustbecauseofhistautbody.DipankarfromIndiahasjustrecentlycomeout;heandPalestinianRamziarerevellinginthekindoffreedomtheycanonlydreamaboutintheirhomophobicsocietiesbackhome.MartinisHIVpositiveandpondershedonisticways,whilePhilippefromFranceobservestheproceedingsonboardserenelyfromhiswheelchair.InhisfeaturefilmdebutdirectorFerlandMilewskisucceedsinprovidingalookbehindthescenesofanostensiblysuperficialworld.Hishumorousapproachhelpshimcreateagenuinebondwiththeprotagonistswhotalkopenlyaboutgaydesires,freeloveandgoodold-fashionedmonogamy.
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
