AtelevisiondocumentaryteamtriestopresenthonestprogramsaboutIrelandandaboutlocalgovernmentcorruption.

揭开神话背后之人的面纱。500年前，米开朗基罗创作了世界上三件最伟大的艺术作品：大卫雕像、梵蒂冈的西斯廷教堂天顶画、罗马的圣彼得大教堂。本纪录片用戏剧的方式，追寻米开朗基罗从一个愤怒的青年人，成长为罗马骄傲的奋斗历程。他的天赋异禀，让人们谈起他时，更多地认他是神，而不是凡人。本片邀请当代专家重新创造他作品的某些部分，来发现他天才造诣的高度。本片还将审视他的个人生活。我们很多人都相信，这颗前无古人的艺术巨星，是一个穷困潦倒、饱受折磨、孤独寂寞的局外人。然而，真实的他莫非是一个狡辩老手，熟练地塑造了自身的形象？

名列「文艺复兴三杰」之首的米开朗基罗，从小展现对艺术的极高天分，更受到当时最具权势的麦迪奇家族拔擢。不料命运多舛，提拔他的知己罗伦佐竟突然辞世，顿失依靠的他，回到修道院后改学解剖，竟意外开启人像雕塑的崭新境界…。以壁画《创世纪》、《最后的审判》及雕塑《大卫像》奠定了他在艺术史上破天荒的地位。这些强烈的艺术风格，甚至影响数个世纪的艺术家们，迄今仍无人能超越其成就。

Film about the drawings of Michelangelo and the way that they illuminate this life, his artistic development, his religion and his inner torments. The film is presented Neil MacGregor Director of the British Museum and is filmed on location in Florence and in the Sistine Chapel. Michelangelo's drawings are some of the greatest of all time. Fragile survivals from over 500 years ago, they can be studied and admired as things of great technical skill and enormous beauty, but they show us something else as well: they show us Michelangelo thinking. Michelangelo would have felt exposed seeing us look at his drawings. And that's what makes them exciting: they give us a thrilling insight into how this genius sculptor, architect and painter worked: they bring us closer to the master.From pen studies made when he was in his early twenties to the visionary crucifixion scenes carried out six decades later, shortly before his death, this film illuminates the high points of Michelangelo's career. The film observes a life class at the Prince's Drawing School and uses the male sitter they are drawing to see how precisely Michelangelo studied his great obsession: the human body. From the sketch of God giving life to Adam for the Sistine Ceiling, to drawings in preparation for the Last Judgement and the great last works on the crucifixion, the film traces the remarkable evolution of some of the world's most celebrated artworks. DVD Extras: A gallery of 25 drawings of Michelangelo from the superb collections of the British Museum and the Ashmolean Museum in Oxford

日本江户时代，江户的文化与经济空前活跃。但在歌舞升平的江户城，也潜伏了一股骇人的暗流，化身人形的恶鬼四处作乱，杀人害命的事件时有发生。为了克制肆虐的恶鬼，幕府特别组织了“鬼御门”，集合精通剑术和强于辨鬼的精英，以首领国成延行(内藤刚志饰)和助手安倍邪空(渡部笃郎饰)为中心，专门猎杀各路恶鬼邪神。 某日，众小鬼在美艳的女鬼美惨(樋口可南子饰)的率领下，来到国成的鬼御门前大肆挑衅，声称不久后即将复活鬼王阿修罗，从此统治整个人世。在这个恶鬼横行的江户城，小演员病叶出门(市川染五郎饰)却毫不在意，仍然每日悠哉游哉地过着自己的生活。原来他也曾是鬼御门的一员干将，“杀鬼出门”的名号在江户如雷贯耳，可惜五年前因故抛弃一切，加入四世鹤屋南北(小日向文世饰)的剧团，从此不问世事。 此时，江户城还盛传飞天大盗“暗夜山茶”的离奇传说。这伙“只谋财不害命”的大盗手法极其干净利落，每次偷盗成功后还不忘留下一朵香艳诡异的山茶花。实际上，这伙大盗是几个靠歌舞曲艺掩人耳目的女飞贼，其中艳压群芳的就是名叫山茶(宫泽理惠饰)的姑娘。五年前，山茶在河边莫名晕倒，以前的记忆全部消失。想不到一次偶然的机会，病叶出门巧遇山茶，便立即被她的美貌吸引。而山茶也对出门情有独钟，此时她肩上的红花胎记也开始显现。 山茶与出门爱的越深，胎记带来的剧痛也越大。她还不知道这个花瓣如火焰的胎记，正是鬼王阿修罗的标志。另一方面，安倍邪空为了夺权篡位，暗中串通妖艳的美惨，设计暗害了国成延行。美惨无意中看到山茶肩上的胎记，执意复活阿修罗，决定派遣邪空追求山茶。于是围绕着一个女人，昔日并肩战斗的出门和邪空，展开了一场殊死搏斗。但出门不小心中了邪空的圈套，身负重伤后被山茶救走。看到二人深情的模样，美惨竟然也莫名手软。 尽管出门已经知道山茶的身世，但他仍然一往情深地爱着这个女人，而山茶也慢慢接受了这个男人。不久后，正当二人情深意浓的时候，山茶五年前的记忆复苏，她的身体也开始发生异变。原来，山茶“只要陷入情网就会变成鬼王，这就是传说中的阿修罗。而当两人爱的越深，思念的感觉越强烈，转生后的阿修罗的力量也越强大”。找到真爱的山茶，却不得不面对恐怖的宿命。 这时候，美惨阴冷的笑声中，江户城鬼火闪烁，远方飘来巨大的空中之城。“阿修罗城浮现的时候，也就是人世转变魔界的时候，人和鬼会同时坠入地狱……”在错综复杂的人鬼缘和爱欲横流的感情漩涡中，鬼王阿修罗终于登场了……

即将迎来30岁生日的派遣职员藤本幸世（森山未来 饰），是一个胸无大志，一事无成，相貌平平，性格别扭且至今没有谈过一次恋爱彻头彻尾的草食系小男人。对于如此黯淡无趣的人生，幸世似乎已做好充足的准备去接受。可是命运似乎有意和他开个玩笑，在某个夜归的夜晚，幸世接二连三收到来自女孩子们的电话，难道说这就是传说中的桃花期吗？这些女孩分别是接待员土井亚纪（野波麻帆 饰）、照明助手中柴五日（满岛光 饰）、OL小宫山夏树（松本莉绪 饰）、中学同学林田尚子（菊地凛子 饰）。这些性格各异的美丽女孩在过去的岁月里都和他有过短暂的交流，如今她们到来，是否会为幸世开启恋爱的大门呢？ 　　 本片根据漫画家久保光郎（久保ミツロウ）的同名原著改编。

江户时代魔鬼横行，为了对抗伪装成人类的魔鬼，一群有志之士成立了一个名叫“鬼御门”的组织。其中一个高手病叶出门(市川染五郎 饰 )，被称作“杀鬼者”，五年前他神秘地离开组织，来到第四代鹤屋南北(小日向文世 饰)开办的剧场做演员。此时在江户出现了一个名叫“暗夜的茶花”的盗贼， 实际上她们是一群表面上以云游表演为生的女子，其中最美的是一个叫椿(宫泽理惠 饰)的女子。病叶偶然邂逅了椿，两人相爱了。假扮成尼姑的恶鬼首领美惨(樋口可南子 饰)，无意中发现了椿肩膀上的阿修罗王的标记，可是椿对此一无所知，在美惨的推波助澜下，在病叶与椿结合的一瞬间真相终于浮出水面。鬼王阿修罗重生，阿修罗城出现在了世人面前。

《米开朗基罗的情诗》是耿雪的第二部雕塑影像作品

《木木麦基罗布乐思大冒险》冷静擅长推理规划的麦基、行动力十足的木木组成固定搭档，穿梭千万款玩家自制虚拟地图：挑战千阶彩虹跑酷、逃离洪水绝境、破解校园怪谈密室、经营梦幻小镇、对抗奇幻副本魔物。节目融合团队协作、逻辑解谜、趣味竞技与轻松搞笑日常，在风格百变的 3D 世界中闯关历险，既能感受极限操作的刺激，也能收获双人搭档的欢乐互动。全年龄段友好，在无限创意的罗布乐思宇宙里，开启永不停歇的奇妙大冒险。

Quote: By the time Michelangelo Antonioni released Michelangelo Eye to EyeBeyond the Clouds in 1995, his keen sense of patient, intimate observation had seemed to give way to a kind of leering, gratuitous voyeurism in the film's repeated, over-lingering shots of the female form. It is, however, precisely this painstaking attention to the voluptuousness of form and tactileness of surfaces that makes his subsequent short film, Michelangelo Eye to Eye particularly sensual and textural in its execution. Prefaced with a text description of the filmmaker's recent health problems (in particular, a debilitating stroke that left him partially paralyzed), the film opens with a shot of a frail Antonioni emerging from the shadows as he walks in slow, awkward gait into an unpopulated hall where Michelangelo Buonarotti's marble statue of Moses - a scaled down version of an ambitiously conceived wall tomb for Pope Julius II - is once again in display after a period of meticulous restoration. Composed of a series of detailed observations of the sculpture's composition from several camera angles and vantage points, Antonioni continually refocuses to the shot of Moses' opaque gaze - an image that is sublimely matched by the filmmaker's own occluded, returned gaze as he examines the object of his attention through limpid, watery eyes. In addition to creating a thorough, meticulous, and deliberative objective study of the Renaissance sculpture's robust physical form and timeless, universal beauty, Antonioni's juxtaposition of his own weakened, aging frame against the larger-than-life sculpture of Moses creates an indelible, thoughtful, and poignant image on human frailty, transience, creative compromise, and the enduring legacy of - and mortal transcendence through - enlightened art. filmref.com