Artur
搜索"Artur"，找到33部影视作品
导演：
/维果·莫腾森
剧情：
影片讲述了发生在19世纪60年代美国西部边境的一对恋人的故事。薇薇安·勒·库迪是一位非常独立的女性，她与丹麦移民霍尔格·奥尔森展开了一段恋情。在旧金山遇到奥尔森后，她同意和他一起前往他位于内华达州埃尔克弗拉茨附近的家，并在那里开始了共同生活。内战爆发后，奥尔森决定为联邦军队而战，两人遂分离。这使得薇薇安不得不独自生活，面对腐败市长鲁道夫·席勒和他不择手段的商业伙伴、强大的牧场主阿尔弗雷德·杰弗里斯控制。而且，阿尔弗雷德儿子韦斯顿性格暴躁、不守规矩，他对薇薇穷追不舍，而薇薇安则坚决抵制他的不轨追求。战争结束后，奥尔森归来，他和薇薇安必须面对并接受彼此已经变成的样子。
导演：
/伊格尔·沃洛申
主演：
剧情：
南奥塞梯原本是格鲁吉亚的一个自治州，苏联解体时期宣布脱离格鲁吉亚独立。1992年俄罗斯、格鲁吉亚、南奥塞梯等各方达成协议各自派遣部队维持该地区的和平，地区紧张局势得以缓解。近年，格鲁吉亚亲欧美的总统萨卡什维利大选获胜，格鲁吉亚积极推进加入北约的进程，并得到美国等国家的支持，与俄罗斯关系恶化。 8月1日，激烈战斗在格鲁吉亚部队和南奥塞梯准军事武装之间展开。战斗造成6人死亡，21人受伤。交战双方指责对方先开火。8月3日，俄罗斯政府准许南奥塞梯人开始疏散到俄罗斯境内。交火第一天，共有20辆巴士载着难民撤离交火区。8月4日，5个营的俄罗斯部队部署到连接南奥塞梯与北奥塞梯的罗基隧道（Roki tunnel）。零星的战斗持续数天。8月6日，格鲁吉亚称，他们损失了一辆装甲运兵车并且有3名士兵受伤，另有10名格鲁吉亚士兵在零星的战斗中阵亡。 我们的故事是从8月7日开始，一个在俄罗斯出生的美国年轻昆虫学家迈克尔为拍摄稀有的飞蛾（其拉丁名就是Olympus inferno）来到南奥塞梯，在那里和他的小学同学都经历了什么呢？
导演：
/山姆·伍德
剧情：
故事发生在1937年西班牙内战时期，在纷飞的战火之中，一位来自美国的名叫罗伯特（加里·库柏 Gary Cooper 饰）的男人，他的身影时常活跃在前线，带领着西班牙人民抗击当地法西斯的残暴统治。他们炸火车打巷战，打得敌人节节败退。 这一天，罗伯特接手了一个新的任务，和一支由民兵自发组成的游击队联手，炸掉敌人前来攻打必经之路上的一座铁桥。在此过程中，罗伯特邂逅了名为玛利亚（英格丽·褒曼 Ingrid Bergman 饰）女孩。玛利亚曾经是市长的女儿，过着幸福美满的生活，然而战争摧毁了她的家庭，不仅让她失去了父母，自己也惨遭侮辱。共同的革命信念让罗伯特和玛利亚很快就走到了一起。
导演：
/约翰·休斯顿
剧情：
弗雷德（亨弗莱·鲍嘉 Humphrey Bogart 饰）和鲍勃（提姆·霍尔特 Tim Holt 饰）是两名穷困潦倒的流浪汉，一日，在酒吧中，他们从精明智慧的霍华德（沃尔特·休斯顿 Walter Huston 饰）口中听闻了有关金矿的消息，走投无路的两人打起了淘金的主意，他们谎称是猎人，驻扎在了山上。经历了种种苦难的挫折，幸运的三人找到了金矿。然而，随着金砂数量的增加，原本相互信任的三人之间出现了裂痕。 在一次下山采购的过程中，名叫科迪（布鲁斯·班尼特 Bruce Bennett 饰）的年轻人发现了他们秘密，跟随而来的科迪表示想要从中分一杯羹，三人决定杀之而后快。就在这个节骨眼上，一群土匪开始向山上进发，他们想要的是这三个“猎人”狩猎得到的“兽皮”。在种种阴谋和贪婪本性的趋势下，本来有着美好前景的三人走向的破灭的结局。
导演：
/费奥多尔·邦达尔丘克
主演：
剧情：
影片根据真实故事改编，以苏联入侵阿富汗事件为背景。1987年到1989年期间，阿富汗战场异常惨烈。由于穆斯林的强烈抵抗，苏联在阿富汗损兵折将，死伤无数。 西伯利亚克拉斯诺亚尔斯克，六名新兵应征入伍，以协助前线战斗。他们接受严苛的魔鬼训练，进行各种特种培训。1987年末，这支奇兵组成“第九突击队”前往阿富汗，受命占据3234高地，以掩护苏联士兵撤退。第九突击队保护苏军大部队安全通过，而自己却弹尽粮绝。血腥而残酷的战场上，他们视死如归的身影显得异常悲壮。
导演：
/Dani de la Orden
主演：
剧情：
巴塞隆纳的圣诞节，总是带给人们甜蜜与喜乐。查尔斯和罗拉刚拥有第一个爱的结晶，然而，他们很快的理解到，三人的小家庭跟两人世界有巨大的差别。新手爸妈手足无措，只能试著适应全然未知的崩溃生活。 卡曼奶奶这里倒是有些新鲜事，她早已计画好要在全家吃耶诞大餐时，宣布自己有了新对象！但那位得到她芳心的人却令人跌破眼镜。而大情圣奥斯卡这次终于不再一股脑倒在哪个女孩的裙襬下了吗？还有乔姆，他心心念念了五十年的初恋女孩，居然再度出现了。圣诞夜的魔力，究竟会带给这些破碎的心什么样的祝福呢？
导演：
/Radványi Géza
主演：
剧情：
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
导演：
/胡安娜·马西亚斯
剧情：
Maca (María Valverde), 30 years old and clumsy by nature, makes the most of life and strives to be happy. Maca's talent is wasted working as an assistant for an oppressive and terrifying fashion influencer and she spends her time with guys with whom she never manages to establish an emotional bond. Together with Jimena (Elísabet Casanovas) and Adriana (Susana Abaitúa), her two unique and lovable friends who are always ready to do whatever it takes to make their problems not seem so bad, Maca has managed to make Madrid a city where everything is possible. Everything seems to be going well until he-who-must-not-be-named comes back into her life. Leo (Alex González), the love and biggest mistake of her life, the man who tore her heart apart, obliterated her self-esteem and her faith in men, comes back into her life to turn everything upside down. Maca has tried to forget him, but now she has to accept that he has returned and face the emotions she has locked away to deal with the unforgettable memory of what could have been and never was. Old wounds are reopened and Maca will have to be brave and confront her conflicts, fears and insecurities in order to finally take control of her life.
导演：
/克里斯·格拉克
剧情：
西恩（埃米尔·赫斯基 Emile Hirsch 饰）和本（麦克思·明格拉 Max Minghella 饰）是两个来自美国软件工程师，因为新开发了一款软件，跑去莫斯科谈生意，晚上去酒吧找乐，遇到从美国跑来旅游的娜塔莉（奥莉薇·瑟尔比 Olivia Thirlby 饰）和安（瑞切尔·泰勒 Rachael Taylor 饰），四个人调情玩乐，却遇上天降白光，大地浩劫，原来是以能量场形态出现的外星人入侵莫斯科，碰触的瞬间就能让任何生命体灰飞烟灭。四个美国年轻人及时藏身，夜晚来临后试图逃出一片涂炭的红场，他们发现电可以感应外星人存在，又找到一位在家里布上电磁阵的极客老头。大家齐心协力，试图找到所有幸存者，利用电磁学知识，对外星人反戈一击……
导演：
/卡尔森·亨宁
主演：
剧情：
九十岁的老记者（Marco Antonio Treviño 饰）要迎来自己的寿辰，于是致电老朋友——妓院老鸨罗萨（Geraldine Chaplin 饰），要求她为自己找一个处女过夜。一位年轻的女工（Alejandra Barros 饰从此进入老人的生活，白天，她在工厂缝扣子，晚上，她穿过半个城市来到妓院，裸露睡下供老人把玩，在他面前始终昏迷不醒。老人把她叫作德尔加蒂娜，慢慢发觉自己爱上了她，在沉睡的她面前，他回忆起自己一生的所有风流荒唐，家里的洗衣妇，订过婚又被他抛弃的女孩，夜夜笙歌的妓院美景……他越来越发觉自己已经离不开德尔加蒂娜，而她在他睡着后也会偷偷观察他的一切，对他颇有好感，但是一场意外发生的凶杀案令妓院被迫关闭，德尔加蒂娜就此不见，老人开始发疯寻找……
导演：
/艾瑞尔·罗特
剧情：
2007柏林电影节评审团奖。 讲述一个变换身份的神秘人的故事。像往常一样，某天去另一个国家出差，却变成了另一段旅程的开始：当他到达他的目的地时，Juan Desouza发现他身边一位男子已经死亡。鬼使神差的，像进入一个游戏世界一样，他决定用这个人的身份，为自己找一份工作，找一个地方栖身，并且不希望回到过去的生活。 在他的这种新生活里，在可能的状态下，在没有目的的情况下，这个男人开始了一段探寻本性的冒险。为了重新发现他的人生观，他用自己最基本的本能，试图领悟他对生活的理解。对他来说，他选择什么生活，他为什么活着，绝不是只有一种可能。 此片由德法与阿根廷合拍，艾瑞尔-罗特为阿根廷青年导演兼编剧，继2001年推出《Sólo por hoy》(生活在他方)后，此次艾瑞尔-罗特带着《El otro》再次来到柏林。该片其导演的第二部作品。Julio Chávez曾凭借在玛莉亚.卢萨.贝姆1982年执导的文艺片《Senora de nadie》(无丈妻身)，在巴拿马影展中获得最佳女演员奖，该片堪称八十年代阿根廷电影的经典之作。其出演的影片《守护者》是56届柏林电影节参展影片。
