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CarmelivesinamountainvillageinGaliciawithhersickmotherandfatherRamón,withwhomshehardlyspeaks.Workinginabakery,shefeelstheurgetoescapefromthisoppressiveatmosphere,butcircumstancesalwaysseemtostopher.Butduringthe“RapadasBestas”weekend–acelebrationoftheage-oldstrugglebetweenmanandhorse–Carme’solderbrother,Luís,comesh...

WhenRosaisexpectedtohandherbossthesuntanlotiononadeerhunt,thisfeelslikeasign.DonReynaldo’sranchisabouttocelebrateitsfarmanniversary,butthispassionatehunter’simageisbuiltonalie.Andso,hereinthecountryside,wheremenaremen,employeesaregratefulsubjectsandwomendiligentlyanddocilelyholditalltogether,cracksbegintoappeari...

In2022,QueenElizabethIIcelebratesher70yearsofreign;her“PlatinumJubilee”.Bringingtogetherincrediblearchives,thedirectoroftheromanticcomedyNottingHillhascreatedforthisoccasion–andjustbeforehisowndeath–anostalgic,playful,freshandmodernchronicleofthewomanwhohasspentthemosttimeasaHeadofState.

Created and written by Mike Bartlett and produced by Drama Republic, Life stars Alison Steadman, Peter Davison, Adrian Lester, Victoria Hamilton, Melissa Johns, Rachael Stirling, Saira Choudhry, Erin Kellyman, Calvin Demba and Joshua James, who all feature in today’s new images. Victoria Hamilton will reprise her role from Doctor Foster - now going by the name of ‘Belle’, rather than Anna - and seeking to rebuild her life anew. Adam James will appear later on in the series, reprising his Doctor Foster role as Belle’s now ex-husband Neil. Life also features Elaine Paige and Susannah Fielding in key roles. Set in Manchester, Life follows the stories of the residents of a large house divided into four flats. As each of the four stories unfold and intertwine in surprising ways, they tell a larger story about what happens when we step out of our personal space and take a closer look into other people’s lives. Life explores love, loss, birth, death, the ordinary, the extraordinary and everything in between. Gail (Alison Steadman), married to Henry (Peter Davison), is about to celebrate her 70th birthday when a chance encounter throws her whole life into question. David (Adrian Lester) is happily married to Kelly (Rachael Stirling), but is conflicted by temptation when he meets the impulsive Saira (Saira Choudhry) on holiday. Pilates teacher Belle’s (Victoria Hamilton) neatly ordered life is disrupted by the unexpected arrival of her chaotic 15 - year-old niece Maya (Erin Kellyman). Heavily pregnant Hannah (Melissa Johns) - who is happily coupled up with safe and stable Liam (Joshua James) - has her plans upended by the return of Andy (Calvin Demba), with whom she had a passionate one-night stand nine months previously...

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SevenBlackfriendsreuniteatacabininthewoodstocelebrateJuneteenth.Theyigniteinfriendlybanterastheyarrive,referencingoldjokesliketheyjustsaweachotheryesterday.Butasnightfalls,thingsbegintogoawryinthepicturesquecabin.Lightsgooutandamaskedarcherstalksthemfromoutside.Oncethey’retrappedinaroom,thegroupmustplaytheultimat...

1997年，和战争几乎摧毁了旧世界的一切，天灾人祸，世道离乱，幸存者艰难求生，文明沦落，这是一个弱肉强食的残酷世界。少年（MunroChambers饰）居住在隐蔽的所在，他经常出没在废墟间，依他称之为“寻宝”的方式寻找有用的物品，然后换取食物以及他最喜欢的漫画书《极爆战士》。在此期间，古灵精怪的女孩“苹果”爱普尔（LaurenceLeboeuf饰）自顾自闯入少年的领地，虽然起初颇有些不情愿，不过少年慢慢接受了这个新伙伴。当他们的关系终于更进一步的时候，女孩突然被某个邪恶组织抓走，被迫要参加血腥残酷的角斗大赛。为了救回爱普尔，少年化身他最崇拜的漫画英雄极爆战士冲入对方的领地……

Michael Briskett meets the perfect woman and his ideal Christmas dream comes true when she invites him to her family's holiday celebration. Michael's dream shatters once he realizes that HE will be the Christmas dinner.

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

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