The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 　　'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. 　　Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. 　　This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. 　　The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. 　　The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. 　　This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. 　　The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. 　　This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. 　　This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. 　　Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

一个英国人，在伦敦长大，二战期间加入军队在朝鲜战争中的战斗。

克雷格·比贝洛斯将导演根据Greg Rucka同名漫画改编的《女王与祖国》（Queen & Country）。艾伦·佩吉将饰演女主角Tara Chace，一名英国军情六处的女间谍。

雷德利·斯科特商谈执导福斯新片《女王与国家》(Queen & Country)，若谈好了他也将同Chernin Entertainment共同制片。基于Greg Rucka所著同名漫画，聚焦英国秘密情报局特工Tara Chace，她是三个致力于保护英国情报机构的特工组织中的其中一员，在一次暗杀任务重身份被暴露。 参与插画创作的包括Chris Samnee、Carla Speed McNei、Bryan Lee O'Malley，该系列漫画从2001年至2007年共出版了32本，于2002年获得埃斯纳最佳新系列漫画奖。 艾伦·佩吉曾在2013年时商谈出演，当时操刀剧本的是莱恩·康道尔(《殖民地》《宙斯之子：赫拉克勒斯》)，John Rogers(《终极玩家》《猫女》)和Rucka此前也进行过创作，目前剧本的状态不明。

Nationen malen keine Bilder. Doch können Bilder die Geschichte einer Nation erzählen? Wie spiegelt die Malerei in Deutschland über ein Jahrhundert hinweg die Sehnsucht nach Einheit und einem Kaiserreich wider, das Streben nach Modernität und Macht, die Kriege und Wunden, das Abdriften in Nationalismus und totalitären Wahnsinn in diesem Land in der Mitte Europas? 　　Von Caspar David Friedrich über Anton von Werner und Arnold Böcklin bis hin zu John Heartfield, Otto Dix und Georg Grosz: Die Künstler wirkten, auf je ihre Weise, an der Entstehung einer gemeinsamen Nation und der Entwicklung einer deutschen Identität mit. 　　Rund 200 Werke wurden für die Ausstellung "De l’Allemagne" im Pariser Louvre zusammengestellt. Sie sind ein Schlüssel zum Verständnis der kulturellen, sozialen und politischen Entwicklung Deutschlands im 19. und zu Beginn des 20. Jahrhunderts in Europa.

Starring: Marcel Duchamp, Man Ray, Jean Arp, Richard Huelsenbeck, Raoul 　　Hausmann and others. 　　Dadascope is a comprehensive portrait of the Dada movement with its specific techniques of sound and visual clash, word puns, chess, dice and other games of chance. Richter stated, "There is no story, no psychological implication except such as the onlooker puts into the imagery. But it is not accidental either, more a poetry of images built with and upon associations. In other words the film allows itself the freedom to play upon the scale of film possibilities, freedom for which Dada always stood - and still stands."

以下文字资料来自《户外探险》2007年第3期。 　　 　　迈克尔. 布朗这部很棒的纪录片是关于盲人攀登者埃里克.韦恩梅耶史无前例的珠峰攀登，全片交织着感人肺腑的直白和宏大的巅峰美景。长达四分钟，扣人心弦的镜头中，韦恩梅耶穿过了孔布冰瀑区的第一架梯子，在这之后他完成了七大洲最高峰的攀登。 　　埃里克.韦恩梅耶13岁因患有一种罕见的视网膜遗传病不幸双目失明。此后他拒柱拐杖，拒学盲文，生性好强的他决心挑战自我，克服困难，超越常人。埃里克一向喜欢运动，失去视力后无法再打篮球和橄榄球，于是改学摔跤，因为这项运动主要是凭感觉，而不是靠视力。 　　1999年7月，在美国盐湖城体育用品博览会上，埃里克邂逅曾登上珠峰的帕斯克瓦勤.斯卡特罗，得知埃里克酷爱登山后，这位地球物理学家告诉他两年后他们准备拍摄一部盲人到珠峰探险的纪录片，问他想不想去。埃里克听后大喜过望，连连表示登上世界第一高峰乃是自己平生的最大夙愿。 　　2001年4月，作为第一位攀登世界顶峰的盲人，埃里克跟随以帕斯克瓦勤.斯卡特罗为队长的登山探险队开始向珠峰进发。当不知天高地厚的盲人埃里克竟敢攀登珠峰的消息一经传出，舆论哗然，讥讽铺天盖地，冷风迎面吹来，有人断言“埃里克必遭灭顶之灾！”个别人甚至声称，准备一路紧紧尾随这位拿命当儿戏的盲人，以便及时“拍摄其尸体照片。” 　　为了使埃里克中途不致掉队，登山队专门指定了一名队员，在背包外面绑了一个钟，以便让什么也看不见的埃里克根据钟发出的清脆的滴答声向上攀登。 　　尽管一路上有人保驾护航关照，但在抵达1号宿营地前，埃里克仍因山陡路滑跌入冰隙内。幸亏同伴及时用绳子把他位上来，由大本营到1号营地需七小时，而埃里克却整整用了13小时。 　　鉴于埃里克差一点儿连1号营地都没爬上来，队长斯卡特罗十分担心这位盲人能否爬到海拔8848米的珠峰顶峰。斯卡特罗召开紧急会议，决定让埃里克一直留在这里，不再随队继续向上攀登。当埃里克听到让他留守此地不再前行时，坚决表示：“不，我决不待在这儿，事情恐怕还不至于严重到让别人把我像一袋土豆似地背到峰顶上去的地步呢！”他对这场战斗充满必胜的信念，深深感染了每一位登山队员。 　　到达海拔8350米直接通向珠峰顶的南峰，随强风急速狂舞的积雪便劈头盖脑地朝他们砸来，突遭雪暴袭击，登山队员寸步难行。正当他们准备返回，眼看艰辛跋涉前功尽弃，一腔心血付诸东流之际，接到大本营通知，说暴风雪即将停息，于是登山队员抖擞精神，待雪暴过后继续前行。 　　在海拔8770米处，一个17米高覆盖着一层冰雪的岩石阶梯横亘在登山队员前面。这是希拉里台阶，登山顶峰前的最后一道天然屏障。埃里克竭尽全力小心翼翼地登上两侧均为峭壁的山崖，然后沿着一座险峻陡峭的冰峰向山顶徐徐攀登。2001年5月25日，盲人埃里克和其他登山队员终于到达珠峰顶峰。峰顶上数十面五彩佛旗迎风飘扬。埃里克虽然什么也看不见，但他感觉到天空近在咫尺。 　　 　　本片为史上最棒的20部户外探险电影之一。

简介：棱镜计划（PRISM）是一项由美国国家安全局（NSA）自2007年小布什时期起开始实施的绝密电子监听计划，该计划的正式名号为“US-984XN”。美国情报机构一直在九家美国互联网公司中进行数据挖掘工作，从音频、视频、图片、邮件、文档以及连接信息中分析个人的联系方式与行动。监控的类型有10类：信息电邮、即时消息、视频、照片、存储数据、语音聊天、文件传输、视频会议、登录时间、社交网络资料的细节，其中包括两个秘密监视项目，一是监视、监听民众电话的通话记录，二是监视民众的网络活动。2013年7月1日晚，维基解密网站披露，美国“棱镜门”事件泄密者爱德华·斯诺登(Edward Snowden)在向厄瓜多尔和冰岛申请庇护后，又向19个国家寻求政治庇护。从欧洲到拉美，从传统盟友到合作伙伴，从国家元首通话到日常会议记录；美国惊人规模的海外监听计划在前中情局雇员爱德华·斯诺登的揭露下，有引发美国外交地震的趋势。

1943年日本侵占朝鲜时期，朝鲜庆南居昌郡的一个普通的村庄，天真烂漫的14岁少女正敏（姜荷娜饰）在父母的爱护下幸福地长大，某天却被日军强行拉走，和她一同被抓走的还有少女英熙（崔莉饰）以及其他差不多年纪的女孩们，她们连英语一句都不懂就被带上了火车，离开家人和家乡的怀抱去到完全陌生的国度。在第二次世界大战的冰冷战场中，正敏和其他女孩们就像被遗弃的孩子，在那里她们被日军糟蹋成为发泄工具，陷入了无尽的苦难中，战争结束后只剩下少数人能活着回到家乡。