We don't have an overview translated in English. Help us expand our database by adding one.

暂无英文版的简介，请添加内容帮助我们完善数据库。

每一个学园都流传着一个传说，而关于百年私立名校圣英学园的传说则有些神秘。传说每当学校陷于危难之时，就会有一只英勇的队伍，带着圣光降临在同学们面前，驱逐邪恶势力，保卫校园。大家给这只队伍命名为“霹雳MIT”。而如今，霹雳MIT似乎已经消失，或者说他根本就不存在过。 　　学校老师陶美人（范玮琪 饰）的另一个身份是末代霹雳MIT的成员之一，为了捍卫她心爱的校园和学生，她决定组建新的霹雳MIT，她把目标锁定在了学园四大天王身上。一个是性格冷淡的名侦探之子詹士德（炎亚纶 饰）、一个是自恋男黄辉宏（小鬼 饰）、一个是富家公子哥钱富豪（陆廷威 饰）、另一个则是詹士德的女友李晓星（鬼鬼 饰）。他们迎来来自恶势力的挑战，一出出颇具悬疑色彩的故事悄然上演，而这背后的真相又是什么……

Judith, an investigative journalist, begins to unravel a murder mystery that implicates one of her current lovers. When she checks out a peep-show business on the seedy side of Hamburg as part of the investigation, she runs into a former boyfriend who used to be a psychiatrist but is now an arms dealer. Judith is lured back into his fold, cheating on her current lovers, one of whom is also a shrink. Despite her profession, or perhaps because of it, Judith tends to blend fantasy and reality, so small wonder she is attracted to psychoanalysts. But, two shrinks and a murder prove more than Judith can handle. 　　"Valie Export's third feature is an anti-romance in which the heroine, oscillating between two relationships, 　　gradually discovers that both are impossible, not because the subjective processes of "love" are defective, 　　but because the objective, social matrix in which both her male lovers operate is corrupt, immoral, murderous: 　　in this film, the male world and its power structures cancel the possibility of love beyond the matter of sexuality, 　　that is the objectification of love. Export makes use of techniques drawn from her earlier experimental cinema, 　　video and conceptual photography to expand the possibilities of narrative feature filmmaking and to disintegrate 　　some of its overdetermined conventions." 　　Video control in subway stations and in street traffic, tapes and cameras are very important 　　for the structure of the film. Mediocrity, hypocrisy and violence are the film's main themes. 　　Valie Export deals with them on private, social and media levels, adhering to the techniques 　　of video avant-garde.

Paradox of Praxis 1 (1997) is the record of an action carried out under the rubric of “sometimes making something leads to nothing.” 　　For more than nine hours, Alÿs pushed a block of ice through the streets of Mexico City until it completely melted. And so for hour after hour he struggled with the quintessentially Minimal rectangular block until finally it was reduced to no more than an ice cube suitable for a whisky on the rocks, so small that he could casually kick it along the street. 　　The art of Francis Alÿs is a reflection of political realities. On the same streets, thousands of locals spend their days pushing, carrying or towing wares or chattels. The results are the same: nothing to show for all the hard work. 　　But Alÿs does have something to show for it, a five minute film. And in a work called Ambulantes I and II, he also gives the street traders and removal men their due. Physical labour has given rise to art, if not profit, but what good is that to people who earn a living by the sweat of their brow? 　　The piece is called Paradox of Praxis I (Sometimes Doing Something Leads To Nothing), as if Alÿs were making a point about the futility of art. And yet this is not merely art about art. The routines of manual workers are just as much of a praxis and must at most times feel just as paradoxical.

Judith, an investigative journalist, begins to unravel a murder mystery that implicates one of her current lovers. When she checks out a peep-show business on the seedy side of Hamburg as part of the investigation, she runs into a former boyfriend who used to be a psychiatrist but is now an arms dealer. Judith is lured back into his fold, cheating on her current lovers, one of whom is also a shrink. Despite her profession, or perhaps because of it, Judith tends to blend fantasy and reality, so small wonder she is attracted to psychoanalysts. But, two shrinks and a murder prove more than Judith can handle. 　　"Valie Export's third feature is an anti-romance in which the heroine, oscillating between two relationships, 　　gradually discovers that both are impossible, not because the subjective processes of "love" are defective, 　　but because the objective, social matrix in which both her male lovers operate is corrupt, immoral, murderous: 　　in this film, the male world and its power structures cancel the possibility of love beyond the matter of sexuality, 　　that is the objectification of love. Export makes use of techniques drawn from her earlier experimental cinema, 　　video and conceptual photography to expand the possibilities of narrative feature filmmaking and to disintegrate 　　some of its overdetermined conventions." 　　Video control in subway stations and in street traffic, tapes and cameras are very important 　　for the structure of the film. Mediocrity, hypocrisy and violence are the film's main themes. 　　Valie Export deals with them on private, social and media levels, adhering to the techniques 　　of video avant-garde.

We don't have an overview translated in English. Help us expand our database by adding one.

暂无英文版的简介，请添加内容帮助我们完善数据库。

Sometimes it takes a miracle for the attraction of opposites to work: Fabian Lauber and Janne Jarst are fascinated by each other, but couldn't be more different. The headstrong country doctor is an adrenaline junkie who gets his kicks from wingsuit jumping and fast driving. He obviously only took over his father's practice after his death for his mother's sake. For Janne, a specialist in Chinese medicine, on the other hand, calmness and attentive treatment of her patients are very important.

Until now, Carlo thought he was living a quiet, manageable life. And he seemed content with his "small world". But somehow, things have not been running smoothly in Carlo's life for a few weeks now. At home, problems are emerging with his son Hendrik and wife Jutta. His now somewhat outdated garage, which he has been running for 30 years, is hardly generating any orders, and even his tortoise Adenauer is giving him grief because she has stopped eating. And now? Carlo has no intention of letting his long-serving employees Becker, Roger and Köll go, because they are more than just his employees. They are his best friends, without whom Carlo's life would really no longer be possible.