这部扣人心弦的新歌剧，其歌词脚本取材于列夫·托洛茨基1924年撰写的一篇关于列宁的文章，以及据说是塞内加所著、讲述罗马皇帝尼禄的戏剧《屋大维娅》的片段。它由俄罗斯一位备受赞誉的导演满怀激情与雄心地搬上舞台。这是一部探讨可能性与必然性、关乎近期与不太遥远的过去、聚焦暴政及其不满的歌剧。

To escape Covid-19 lockdowns, an internet famous couple decide to go on a camping holiday in the English woods. However, unbeknownst to them something sinister lives in the woods.

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Rodrigo returns to his childhood home of Salamanca after a four-decade absence and a career as a guerrilla in Latin America, a secret agent in the Eastern Bloc and an official for an international agency. While Rodrigo may have attempted to put his past life behind him, the memory of his now deceased mother and his old-world family returns to haunt him. In an old city dominated by the weight of tradition, Rodrigo discovers a daughter about whose existence he had never known, as well as a grand-daughter, the enigmatic and beautiful Octavia. A rebellious teenager, Octavia dismisses her grandfather's old politics, possessing her own sense of what freedom means. Patino's film is a poetic, assured contemplation on the pain of returning somewhere you never really left and the accompanying ironies of a man obsessed with history who cannot face his own.

Based in the 1970s Britain, "Octavia" charts the schemes of the title character to steal her friend's man.

The blind Octavia never left her fenced-in estate where she lives with her abusive father. All that changes when Bo comes into her life. Although frightened of her budding sexuality. In HD.

Complex Spanish drama is rewarding. A film for grown ups. It is rare to find a production which attempts so complicated a statement. While this makes OCTAVIA demanding viewing, particularly for someone who doesn't speak its language, it remains a work of high seriousness which goes a long way towards achieving it's aims. Key is the scene where Sola, returning to the family home after years of following a troubled international career, goes through his Stasi file (given him by cop Paul Naschy of all people) with his new wife and we get a potted history of the character and Spanish politics since the fifties. The conflict is between the perceptions of Dona Lozano the Carlist matriarch who treasures the Salamanca family traditions and young, intermittently naked grand daughter Menh-Wai/ Octavia product of the (possibly forced) union of the nun daughter (terrific performance) and a jungle guerilla who she imagines is still financing his activities from the cocaine she and her friends use. The situation is explored in a whole variety of situations and scenics which keep turning the audiences perceptions of the characters and their setting. The ending, where the stone slab with the single word on it clunks into place, as Terenza Beganza and the orchestra provide the music which we've been hearing through the production, is a remarkably telling combination.

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