Teenager Hatzín travels from Mexico City to collect the remains of his father, found in a communal grave in Northern Mexico. But a casual encounter with a man who he shares a physical resemblance with introduces both doubt and hope around the truth.
2012年9月,当一具骨骼在兰切斯特市政厅的一个停车场被发现的时候,这个消息传遍了世界各地。这会不会是在遗失了500年的英国的最臭名昭著的国王的尸体呢?在这部全球独家纪录片中,电视四台呈现了寻找理查三世的完整内幕。
When a skeleton was reported found under a Leicester council car park in September 2012, the news broke around the world. Could it be the remains, lost for 500 years, of England's most infamous king? In a world exclusive, Channel 4 has the full inside story of the hunt for Richard III.
故事开始于林肯总统遇刺身亡之后,有八人因为谋杀总统而遭到了逮捕,42岁的玛丽(罗宾·怀特 Robin Wright 饰)是其中唯一的女性,玛丽经营着一间家庭旅馆,而刺杀总统的全部计划都是在这间旅馆的某个房间里诞生的。艾肯(詹姆斯·麦卡沃伊 James McAvoy 饰)是一位初出茅庐年轻有为的律师,他奉命为玛丽辩护,虽然艾肯知道就算有他的辩护,玛丽还是难逃死刑的惩罚,但还是决定走一遍流程。
然而,在和玛丽沟通交流后,艾肯渐渐开始怀疑,玛丽真的是无辜的,她只不过是被威胁和被利用的人质。没有人相信玛丽的清白,她的命完完整整的被捏在艾肯的手中。
贝斯(艾米莉亚·琼斯 Emilia Jones 饰)和维拉(泰勒·希克森 Taylor Hickson 饰)是个性大相径庭的两姐妹,两人跟随母亲前往亲戚家留下的别墅居住,谁知道一家人却被两个变态盯上了。在母亲的奋勇抗争下,贝斯和维拉逃过一劫,长大后,贝斯将自己的这一段经历 写成了一本小说,并因此一炮而红,成为了畅销作家榜上的常客。与此同时,这段恐怖的回忆带给维拉的却是毁灭性的打击,她整日将自己锁在房间里,被恐惧包围与折磨。
得知姐姐的境况十分糟糕,贝斯决定返回故乡,殊不知,从她打开记忆尘封的大门的那一刻起,她将再度陷入噩梦之中。
This documentary special takes us on a journey through the “day that will live in infamy,” by exploring the biggest stories and lesser known details that still surprise us 75 years later. Accounts from experts, military minds, and even those who lived through it, will show how this tragedy continues to shape our country today.
quot;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 command 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 becoming. 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 comment. 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 committed 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.