Based on Herman Bang's novel Mikael, Vingarne is a silent melodrama about an artist's love for his newfound male model. Radically, the film opens with director Stiller and his cinematographer coming across a sensual staue of Icarus in the gardens in Stockholm. Then the movie proper begins, with artist Claude Zoret struck by love at first sight for the young Mikael in a woodland; he adopts Mikael, who serves as inspiration for his latest sculpture. Inevitably Mikael gets his wings burnt when he starts courting Zoret's patron, the unscrupulous Lady Lucia; pained by Mikael's desertion, Zoret dies during a fierce storm before his staue of the naked boy. 　　Watching Vingarne 75 years after its production is an extraordinary experience. It's easy to get caught up in the fragmentary feel of the narrative, to work too hard at following the story instead of giving up to its original allusiveness. So, some tips to tap into that intended sense: First, bear in mind that both novelist Bang and director Stiller were known to be gay. 　　Second, it's interesting to compare Vingarne with Carl Dreyer's film of the same novel (also called Mikael). Many of the greatly sensual scenes from Dreyer's film are foreshadowed in the first version. 　　Finally, the most startling--and infuriatingly brief--thing about Vingarne is the framing device and the idea of a film-within-a-film. Confronted by the barest remains of his extraordinary conceit, we can only imagine what the original felt like. 　　##from: http://www.gay.com/entertainment/movies/reviews/?733

2024年是“中法文化旅游年”，也是中法建交60周年。中法合拍纪录片《文明的荣光》以故宫博物院的“紫禁城与凡尔赛宫：17、18世纪的中法交往”展览展出的约200件文物珍品为切入点，呈现中法两国交流互鉴的高光时刻。

2024年是“中法文化旅游年”，也是中法建交60周年。中法合拍纪录片《文明的荣光》以故宫博物院的“紫禁城与凡尔赛宫：17、18世纪的中法交往”展览展出的约200件文物珍品为切入点，呈现中法两国交流互鉴的高光时刻。

林英（潘珊妮娅·甘宋卢 Tussaneeya Karnsomnut 饰）是一个视男人为玩物的女人，她虽然辗转在不同的怀抱之中，但从未认真对待过这些感情。庭帕特（克里塔利特·布帕洛姆 BigM Krittarit Butprohm 饰）和妹妹之间的感情非常的要好，妹妹即将和深爱的男友携手步入婚姻的殿堂，在这个节骨眼上，这个男人遇见了林英。被林英迷得神志不清的男人选择了和恋人分手，导致了庭帕特妹妹的自杀身亡。不仅如此，庭帕特的母亲也因为受不了这巨大的打击，中风瘫痪了。 　　庭帕特决定替妹妹报仇，他隐藏了自己的真实身份，出现在了林英的身边。林英深深的感觉到，在庭帕特的身上，有着和之前她遇见过的所有男人都不一样的特除气场，这令她深深着迷。

林英（潘珊妮娅·甘宋卢 Tussaneeya Karnsomnut 饰）是一个视男人为玩物的女人，她虽然辗转在不同的怀抱之中，但从未认真对待过这些感情。庭帕特（克里塔利特·布帕洛姆 BigM Krittarit Butprohm 饰）和妹妹之间的感情非常的要好，妹妹即将和深爱的男友携手步入婚姻的殿堂，在这个节骨眼上，这个男人遇见了林英。被林英迷得神志不清的男人选择了和恋人分手，导致了庭帕特妹妹的自杀身亡。不仅如此，庭帕特的母亲也因为受不了这巨大的打击，中风瘫痪了。 　　庭帕特决定替妹妹报仇，他隐藏了自己的真实身份，出现在了林英的身边。林英深深的感觉到，在庭帕特的身上，有着和之前她遇见过的所有男人都不一样的特除气场，这令她深深着迷。

河万起会长一手振兴了已经没落的河氏宗家，虽然他并非河家的亲子孙，但他决心把河氏宗家精神传承下去。然而他寄予厚望的孙子们并不争气，那对双胞胎兄弟…

The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 　　Papatakis might have thought he was making a poignant political statement but he comes across as a bargain basement imitation of Costas-Gavras. In fact, one suspects that all he really wanted to do was make a dirty movie but provided himself with a pseudo intellectual cover. (In one prolonged film-within-a-film sequence, a despicable French military officer engages a prostitute to engage in bizarre practices that include using a rather difficult and innovative method of opening champagne bottles.) 　　By Lee Pfeiffer -cinemaretro.com-