备注： 类型：韩国剧剧情,言情
地区/年代：英国/2008
主演：Bear,Grylls
简介：Episode 41 Sweden - This episode features Will Ferrell in a special titled Men vs. Wild, where Ferrell tags along with Bear as they journey through the frozen wilderness of Sweden. The episode is a tie-in to help promote Ferrell's new movie, Land of the Lost. -Survivalist Bear Grylls takes on the elements in some of the toughest, most inhospitable places on earth. From the deserts to the jungle, to the mountains to the arctic climates, Bear shares his best survival techniques and shows how to best stay alive in some of the harshest conditions.
备注： 类型：韩国剧剧情,言情
地区/年代：英国 / 美国/2010
主演：贝尔·格里尔斯,戴夫·皮尔斯
简介：《荒野求生秘技》（Man vs. Wild）又称《荒野求生》，是美国探索频道制作的一档写实电视节目，由英国冒险家贝尔·格里尔斯主持，每集他会走到沙漠、沼泽、森林、峡谷等危险的野外境地，在极为恶劣的环境下，为脱离险境，设法寻找回到文明社会的路径。
备注： 类型：韩国剧剧情,言情
地区/年代：英国 / 美国/2011
主演：贝尔·格里尔斯
简介：
备注： 类型：韩国剧剧情,言情
地区/年代：美国/2011
主演：贝尔·格里尔斯
简介：1"South Island"July 18, 2011 Bear Grylls must fling himself out of a plane and parachute to safety to reach this remote area. Crossing the country's highest mountain range and starting a fire in a waterlogged forest are just some of the unpredictable things he faces in this terrain. 2"Fire And Ice"July 25, 2011 Bear Grylls is dropped on an ice cap covering an active volcano. In blizzard conditions he struggles to make headway, and the barren land offers little food. Can he reach civilization when faced with swollen river crossings and ever present flash floods? 3"Red Rock Country" August 12, 2011 Bear Grylls is in red rock country - southern Utah. Armed only with a lasso, he descends a rock pinnacle and gets trapped in a narrow gorge. Crossing an arid wilderness, he's left hanging 100 ft above a ravine. And Bear's craziest airplane stunt ever! 4"Land of The Maori"August 19, 2011 Over 100 people drown each year in New Zealand, and Bear must cross a raging river on a tree trunk to head toward civilization. On his journey to safety he runs out of water, is forced to climb up active volcanic ranges and scale down a waterfall. 5"Working the Wild"November 29, 2011 Bear Grylls takes the viewer behind the scenes to meet the crew that follows his every step. Whether he's jumping from helicopters or eating the unimaginable, the camera is never far away from the action. Now the crew gets to tell their side of the story.
备注： 类型：韩国剧剧情,言情
地区/年代：法国/1959
主演：内详
简介：Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
备注： 类型：韩国剧剧情,言情
地区/年代：法国,比利时/2020
主演：菲利克斯·勒费弗尔,本杰明·沃辛,菲莉皮娜·维莱芝,瓦莱丽亚·布鲁尼·泰德斯基,梅尔维尔·珀波,伊莎贝尔·南蒂,洛朗·费尔南德斯,奥罗拉·布鲁坦,布鲁诺·洛歇,约恩·齐默,安托万·西蒙尼,帕特里克·齐默尔曼,塞缪尔·博拉夫曼-芒蒂尔
简介：亚历克西斯（菲利克斯·勒费弗尔FélixLefebvre饰）是一位精力旺盛，向往自由的少年。一天，在独自出海的过程中，亚历克西斯遭遇了意外，所幸得到了大卫（本杰明·沃辛BenjaminVoisin饰）的出手相救才逃过了一劫。这次事件让两个少年迅速建立了深厚的友谊，他们一个放荡不羁古灵精怪，一个沉着稳重心思细腻，简直就是天作之合。然而，当一个名叫凯特（菲莉皮娜·维莱芝PhilippineVelge饰）的女孩出现在两人的生活中时，亚历克西斯和大卫之间的关系开始慢慢出现裂痕。在一次激烈的争吵中，亚历克西斯负气出走，不放心他的大卫驱车在后面追赶，哪知道因此遭遇了车祸命丧黄泉。
备注： 类型：韩国剧剧情,言情
地区/年代：意大利/2016
主演：卡洛·迪帕尔马,卡洛·万齐纳,Valentina,Di,Palma,吉奥里亚诺·蒙塔尔多
简介：A look at the life and work of Italian cinematographer, Carlo di Palma.
备注： 类型：韩国剧剧情,言情
地区/年代：法国/2019
主演：Nathan,Willcocks,热拉尔·朗万
简介：对于野生动植物而言，阿尔卑斯山的环境充满艰难险阻。这是一片极端之地，深受人类影响。一头被驱逐出群的雌狼，为了养育幼崽，必须找到一处安全之所。她这一路不仅困难重重，还会跟从熊类到金雕等诸多已经成功在阿尔卑斯山安家的动物狭路相逢。每一种动植物，都在展现它们如何能在这片充满考验的地方生存。同时，它们还揭示了团结的力量——这堪称动植物世界里最令人惊奇的生存策略之一。那些彼此帮扶的生命，才能成功存活。《庇护所：阿尔卑斯山求生记》作为一部震撼又壮美的纪录片，讲述着欧洲腹地深藏的那些鲜为人知的动植物生存故事。
备注： 类型：韩国剧剧情,言情
地区/年代：德国,以色列,法国/2009
主演：Dana,Ivgy,莫尼·穆索诺夫,罗内特·艾尔卡贝兹,Mahmud,Shalaby,Hussein,Yassin,Mahajne,Roy,Assaf,Lili,Ivgy,Zenabh,Mahrab,Suma,Zenabh,Dalia,Beger,Nahman,Ashkenazi,Amir,Busheri,Moris,Cohen,Lizi,Goren,Solita,Hadad
简介：这部女导演克伦·叶达雅的戛纳电影节参映影片，讲述由一个年轻犹太姑娘与一个阿拉伯技工的真挚感情所引发的令人痛心的悲剧故事。素以“海的新娘”著称的历史古城——以色列的雅法【特拉维夫的一部分。以色列第二大城市特拉维夫的全称其实是特拉维夫-雅法，它是两个相邻的城市合并而成的。1947年，联合国关于巴勒斯坦的分治决议，建议雅法(当时人口为10万，包括3万犹太人)归阿拉伯人所有；特拉维夫(当时人口23万)归犹太人所有。1948年，以色列军队占领了雅法，城中的阿拉伯人纷纷逃亡。1950年，特拉维夫将雅法老城兼并，取名为“特拉维夫-雅法”，并延用至今。】。这个城市的中心街区，开着一家世袭的家族企业——车铺。业主鲁文·沃尔夫ReuvenWolf（莫尼·莫绍诺夫饰）有一双成年子女，玛莉Mali（达娜·伊维吉饰）和梅厄Meir（罗尼特·埃尔卡贝茨饰）。巴勒斯坦青年陶菲克Toufik（穆罕默德·沙拉比饰）和他的父亲哈桑Hassan（侯赛因·亚辛·马哈因饰）在鲁文的车铺里工作。一直没有人怀疑实际上已经相爱多年的玛莉和陶菲克之间会有过什么。随着这对情人秘密地安排着他们的婚礼，梅厄与陶菲克之间的紧张关系便开始升级......
备注： 类型：韩国剧剧情,言情
地区/年代：日本/2002
主演：柄本佑,原田芳雄,左时枝,入江若叶,石田惠理,香川照之,甲本雅裕,牧濑里穗,宫下顺子,中岛博子,小田绘梨花,寺岛进
简介：1945年8月，在隔海可以望见宫崎的雾岛小村庄上，初三男孩日高康夫（柄本佑饰）正在祖父母的家中疗养。康夫在大空袭中目睹好友的离去，并罹患了肺炎，因此告别满洲的父母来到此地。祖母（左時枝饰）虽然慈爱，祖父重德（原田芳雄饰）却是一个十分严厉的老人，这令康夫的乡间生活无聊而压抑。此时日本已然战败，从中国大陆撤回的士兵进驻村庄日夜操练，准备和美军的最后决战。经历了战争洗礼的大人们有着各自的心事与烦恼。而少年不知愁滋味的康夫则因为青梅竹马的女孩儿度过一个还算快乐的夏天。本片荣获2003年《电影旬报》最佳影片、最佳导演和最佳新人奖。
