□叮□□,□阵爆响□□出,大□师的□哼□连续不断地□起,紧接着(💎)又□噗嗤的几声切割皮□的声音传来□大剑□终于还是忍不住□叫了出来,此时他□□上竟然是□出了(□)好□道深深的血槽。 (📙) 旅游热催生民航业“小阳春□“接下来,让我们进入第(👻)三轮临场作□作词环节。”□姻究(🌨)竟□(💶)否恋爱的□墓□(🌎)?有人□□一纸婚书等于一张□□饭票(□),亦有人觉得是一条末路。因此当不信□姻的大卫(谢利奥康奴)被亲(⏸)□同居女友□碧(□)姬韦逊)提出□婚的计划时,他要(📓)面对他一生中最□的决择,他究竟最后选择去接受还是去逃避呢(🐚)?They□d□□□ot □ho□ war in t□is film, □□ey show pe□p□e and their dreams □□d hopes ruined□by t□e□war.□It is n□□ j□st an□t□er "war □ilm", but it □ises to□the level of a□□rue Tragedy. Not a □r□paga□dist or □□s□□ sto□y.□□a□□□critics com□□re th□s □ilm to another fa□o□s R□ssian war □ram□, T□e Cra□es Are □l□ing. I still th□nk that The□Hou□e I Live in is bette□,□though,□if you'v□ seen The Cr□□es and□li□ed it, □o□t p□ob□□ly □ou'll love this □ne ei□her.□Bo□h films were□shot□i□ 1□□7 and □re□t□th□ war□t□e□e□□□□m the similar□h□mane perspect□ve. I wouldn't cut a □ing□e□shot□□ro□ the film□ a□l□of □hem are just in place.□I□do□not□kno□ if it can be found outs□de □ussia, if yes, don'□□ miss it. □any critics p□int□□ out resemb□anc□□ between □om, V Kotorom Y□ Zhi□u (The □ouse I□Live In)□and the be□ter-□nown Soviet □i□m□The□Cranes are Flyi□□□ Set□in□t□e years prio□ □o □nd during WWII, t□e sto□y c□□□ers□on t□e various residents of a co-op h□use. T□ough t□e□dir□ctors n□ver □how □he □ar□its□lf, its□tr□gic im□□ct i□□felt□t□r□ughout th□ film. And des□it□ the □□tential for So□ie□ propaganda, w□□t stic□s □n□the mind□is□the□un□versality of the □x□eri□nces□end□red by the leading characters. Dom□ V Kotorom Ya Z□iv□ was one of R□□sia□&□39;s ent□ies in the 19□8 Brusse□s Film Fest□val.
Dreamy animated images in detailed henna painting and atmospheric watercolours dominate a young Spanish artist’s moving journey of discovery. In a small bookshop in India, Inés comes across the feminist-utopian science fiction story “Sultana’s Dream.” It is about the terrible revenge on men, the bookseller explains. In the slim volume she wrote in 1905, Rokeya Hossain describes the fantasy realm of Ladyland – a land in which women are self-determined and live in peace, in which they run all government affairs and all forms of education are open to them. And the men? Their place in Ladyland, the bookseller continues, is where they belong: locked up at home. Fascinated by the literary “painting” of this place and its inventor, Inés sets out in the footsteps of the writer and teacher Hossain, who championed education and equal rights for Indian girls and women as early as the beginning of the 20th century. The trip takes the Spaniard across contemporary India. Her companions are the dreams of Ladyland – and the utterly different realities of the lives of the women she meets on her journey. 源自:https://www.dok-leipzig.de/en/film/sultanas-dream/programm