A 70th anniversary television event, Singapore 1942- End of Empire tells the story of those early shocking days of the Pacific War when belief in security and comfort from empire collapsed. For the first time this momentous 20th century battle, and its equally dramatic aftermath, will be told from a multi-national perspective, revealing new and challenging insights into a battle that turned our world upside down. Whilst the Japanese victory confirmed how useless it was for Australians to rely on Britain for their defence, post-war Australians looked to another great protective power - the United States - to align itself with. And Asian nations would rapidly determine their own destiny and seek a tumultuous independence.
6岁的土耳其男孩钱克(拉斐尔·寇索里斯 Rafael Koussouris 饰)跟着家人们生活在德国,最近,他遇到了一件非常令他感到困扰的事情,那就是他渐渐的开始搞不清楚,自己到底算土耳其人还是德国人。
时间线回到40年前,钱克的爷爷只身一人从土耳其前往德国打拼,当他在这个经济发达的国家站稳脚跟之后,便将自己的一家老小都接了过来。就这样,钱克一家人便在德国扎下了根,他们再也没有回过土耳其。不忍心看到钱克整天忧心忡忡的样子,爷爷偷偷的在土耳其买了一栋房子,并且号召全家人踏上前往土耳其的返乡之旅,这样突发奇想的决定真的没有问题吗?
一位英俊潇洒但不愿给女生承诺的音乐制作人,发现自己已经爱上了自己的邻居。
As Ishaan, a music producer who has commitment issues with the women in his life, feels a connection with Gauri, his next-door neighbor, he begins to learn the importance of relationships.
Golden Bear winner Peter Mackie Burns has started shooting his London-set debut feature Daphne, production company The Bureau has revealed.
Emily Beecham [pictured] - who features in the cast of Berlinale opening film Hail, Caesar! - plays the titular Daphne, a young Londoner with a frenetic lifestyle who decides she needs to change her life after witnessing a violent robbery.
The Bureau producers Tristan Goligher and Valentina Brazzini developed the project in-house. The BFI and Creative Scotland are the main financiers of the film, together with The Bureau.
The company’s Paris-based sister company, The Bureau Sales, is handling international rights.
Mackie Burns won the Golden Bear for best short film in 2005 for Milk, about a girl trying to bathe her grandmother.
Nico Mensinga wrote the screenplay for Daphne in his second collaboration with Mackie Burns after the short Happy Birthday To Me, also starring Beecham.
The Daphne shoot kicks-off amid a high-profile year for The Bureau following the success of Andrew Haigh’s 45 Years, which won two Silver Bears for the lead performances of Charlotte Rampling and Tom Courtenay in Berlin last year, with Rampling also receiving an Oscar nomination, and is up for Outstanding British Film at tonight’s Baftas.
“Peter Mackie Burns has made some visceral performance driven shorts including the award-winning Milk,” said Lizzie Francke, BFI senior production and development executive. “It is great to be able to support him on the next stage of his film career
In 1672, two witches (Jennifer and her father Daniel) were burned by puritan Jonathan Wooley. In revenge, Jennifer cursed all future generations of the Wooley family, that the sons will always marry the wrong woman and be miserable. In the 20th century, a bolt of lightning frees Jennifer and her father from the tree that had kept their souls imprisoned. Jennifer assumes corporeal form and decides to make up-and-coming politician Wallace Wooley, then unhappily engaged, even more miserable by getting him to fall in love with her before his wedding. Wallace is a straight arrow, though, and Jennifer has to resort to a love potion. As we all know, love potions tend to backfire, with comedic results.
This would definitely not have been my kind of movie, but my husband saw it on TV and said it was really good. So, on his recommendation, I bought a copy, since I didn't know if it would ever be on TV again. I had never heard of anybody in it except Armand Assante. At first I had a hard time getting into the story, because the first part of the movie is a jumble of images-- and it doesn't make much sense. It is only later in the movie that it all comes together. The scene-cutting- if that's what it's called, is a bit jarring-- it sometimes looks as if a few frames have been cut out of each scene, and the scenes are jerky--but I guess that was done to add to the unusualness (if that's a word). The story veers here and there, and just about the time you have it all figured out, everything turns upside down and you have to readjust your thinking as to who is the bad guy and who is not. Or bad woman. The acting is very good-- I kept thinking how much Norman Reedus looks like Leo Decaprio. The ending was a real twist, totally unexpected, which I liked. A good show.