影片讲述第一次世界大战，托曼尼亚王国独裁者辛格尔（查理·卓别林饰）上台。他的大肆扩张导致战乱不断民不聊生。并且他大搞阴谋政策，煽动民众对犹太人的敌对与仇恨，让犹太人民陷入水深火热的灾难之中。被征入伍的犹太人理发师查理（查理·卓别林饰）更是在这样的高压政策下难逃一劫。当查理逃出边境时，被驻守在这里的军队误认为是独裁者辛格尔，他趁机做了一场“为自由而战斗”的大演说。 该片是查理·卓别林的第一部有声片，摄于希特勒统治最为黑暗的时期，片中对他辛辣讽刺跟丑化比比皆是。本片荣获第13届（1941）奥斯卡最佳电影、最佳男主角、最佳男配角、最佳编剧、最佳音乐5项提名。

影片讲述第一次世界大战，托曼尼亚王国独裁者辛格尔（查理·卓别林饰）上台。他的大肆扩张导致战乱不断民不聊生。并且他大搞阴谋政策，煽动民众对犹太人的敌对与仇恨，让犹太人民陷入水深火热的灾难之中。被征入伍的犹太人理发师查理（查理·卓别林饰）更是在这样的高压政策下难逃一劫。当查理逃出边境时，被驻守在这里的军队误认为是独裁者辛格尔，他趁机做了一场“为自由而战斗”的大演说。 该片是查理·卓别林的第一部有声片，摄于希特勒统治最为黑暗的时期，片中对他辛辣讽刺跟丑化比比皆是。本片荣获第13届（1941）奥斯卡最佳电影、最佳男主角、最佳男配角、最佳编剧、最佳音乐5项提名。

故事梗概: 一名富翁横蛮冷酷, 为保自己的强权, 不择手段摧残同业, 好比一个大独裁者. 一个小流氓, 相貌酷似 '大独裁者', 虽是穷光蛋一名, 却心地善良, 怜悯弱小; 他冒充富翁, 替天行道, 结果闹出连串笑话. 演员表: 伊秋水 .... 大独裁者 曾蓝施周志诚秦小梨冯应湘张活游夏宝莲梁素梅陈翠屏黄寿年叶仁甫杨业宏林鲁岳黎明

In this visual essay, Charles Chaplin biographer Jeffrey Vance, author of "Chaplin: Genius of the Cinema", draws upon a wealth of photography as well as a wide range of interviews (Paulette Goddard, Sydney Chaplin, Chuck Jones, Leni Riefenstahl, Mel Brooks, Joan Collins et al.) to examine the production history of "The Great Dictator", the film's importance as a satire, and legacy.

中东Wadiya共和国的领导人Shabazz Aladeen因为国内政变被剃了胡子流落美国街头，却遇到了美丽杂货店店主（安娜·法瑞丝），从而开始了不怎么成功的打工生涯……

伊参スタジオ映画祭シナリオ大賞2012で中編の部大賞に輝いた脚本を、執筆した飯塚利光本人の監督デビュー作として映画化。イジメを受けている高校生があるきっかけから立場を逆転させていく様をユニークなストーリー展開で描き出す。主演は『死んだ目をした少年』の清水尚弥。ヒロインを務めるのは園子温監督版『リアル鬼ごっこ』の村上穂乃佳。冴えない高校生の古賀祐介と副島裕子は、みんなから押し付けられるように面倒な学級委員に選ばれる。ある日イジメられていた古賀を副島がかばい、イジメの標的が副島に移ってしまう。なにもできない古賀の前に幼い頃にイジメから助けてくれた黒柳が現れ……

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Bringing Down A Dictator documents the spectacular defeat of Slobodan Milosevic in October, 2000, not by force of arms, as many had predicted, but by an ingenious nonviolent strategy of honest elections and massive civil disobedience. Milosevic was strengthened by patriotic fervor when NATO bombed Yugoslavia in early 1999, but a few months later, a student movement named Otpor! (“Resistance” in Serbian) launched a surprising offensive. Audaciously demanding the removal of Milosevic, they recruited where discontent was strongest, in the Serbian heartland. Their weapons were rock concerts and ridicule, the internet and email, spray-painted slogans and a willingness to be arrested. Otpor students became the shock troops in an army of human rights, pro-democracy, anti-war, women’s groups, and opposition political parties. Their slogan: "He’s Finished!" Trained in nonviolent action and partially financed by the US and western Europe, they forged a unified political opposition, fought to stop vote fraud, and systematically undermined police and army loyalty. When Milosevic refused to accept defeat at the polls, the opposition called a general strike. As normal life ground to a halt, Serbs by the hundreds of thousands poured into the capital on October 5 to seize the Federal Parliament in a dramatic triumph for democracy. The one-hour documentary is narrated by Martin Sheen.

Soviet era science-fiction is something that holds a great fascination as an x-ray of the zeitgeist of its times in exactly the same way that 1950s Hollywood B movies are fascinating historical artefacts for the way that they amplify fears of the Atomic Age and of the Communist threat. The Soviet films are fascinating in very different ways to their American counterparts – you can, for example, look through any of the Eastern Bloc science-fiction films of this era in vain in search of a work where they fear an invasion of the USSR by aliens that are a thinly disguised allegory for the United States. Moreover, there was only a single Soviet film, Letters from a Dead Man (1986) – which was made well into the era of perestroika – that deals with the issue of nuclear war and none at all that feature atomic monsters. Rather most of the Soviet science-fiction films of the 1950s and 60s seem political/ideologically driven works that feature noble scientists and engineers of the regime as they boldly carry the Communist cause to the stars. See efforts such as The Heavens Call (1959), Storm Planet (1962), Andromeda Nebula (1967), Moscow-Cassiopeia (1973), and works from non-Russian countries such as First Spaceship on Venus (1959) and Ikarie XB-1/Voyage to the End of the Universe (1963). Most of these were brought up by Roger Corman and AIP and re-edited into titles like Battle Beyond the Sun (1963), Voyage to the Prehistoric Planet (1965), Queen of Blood (1966) and Voyage to the Planet of Prehistoric Women (1968). These are not fearful films like their American counterparts, rather they seem lit up by the grand ideals of colonising the universe that caught the Soviet imagination during the Space Age. The Hyperboloid of Engineer Garin is based on The Hyperboloid of Engineer Garin/The Garin Death Ray (1927), a novel by Alexei Tolstoy, the writer whose original work also became the basis of the very first Soviet science-fiction film, the silent classic Aelita (1924). The film would appear to be a fairly accurate translation of the book from what I can gather, even retaining the 1920s setting of its original publication. The one thing that left me puzzled was the reference to the death ray as an hyperboloid. My immediate thought was to think of the literary term ‘hyperbole’, which means a form of exaggeration that is not meant to be taken literally, but apparently an hyperboloid is a curved three-dimensional surface. The first half of The Hyperboloid of Engineer Garin takes place as a spy thriller. It is fascinating to see as a counterpoint to the numerous English-language spy films that were being made around this era such as the James Bond and Harry Palmer films or more serious works like The Spy Who Came in from the Cold (1965). These often featured the Soviets as villains but here we are seeing a spy film from the opposite side of the political fence. Like many of these others, The Hyperboloid of Engineer Garin takes place in a series of freewheeling international locations, which are often lavishly presented. I began to get into the film, impressed by the directorial style that Alexander Gintsburg was showing where many of the scenes are shot in an exaggeratedly heavy contrast of light and shadow that immediately recalls the world of The Third Man (1949). On the minus side, you get the feeling that the film is compacting down the complicated plotting that takes place in the book. What we end up with is a murkily incomprehensible plot that involves the murder of a double of Garin, international blackmail and sabotage, multiple murder plots and a number of factions running around all seeking to either kill Garin or get their hands on his discovery, at the same time as he tries to find a colleague who has gone into hiding in a remote part of the world. It is when it unveils its hyperboloid about halfway through that The Hyperboloid of Engineer Garin starts to come to life as a science-fiction film. There is the fascinating scene where Yevgeny Yevstigneyev’s Garin is holed up in a villa as several people come after him and so switches the hyperboloid on and eliminates all his opponents by sweeping the heat ray across the door. Thereafter the film abandons the spy thriller aspect and becomes a film about an amazing discovery. Here it starts to resemble one of the German classics of the early sound era – the likes of F.P.1 Does Not Answer (1932), The Tunnel (1933) and Gold (1934), which were films made about scientific discoveries that marvelled in the sheer power of engineering projects. There is a great fascination to the scenes of the machine drilling through the Earth to reach the olivine layer, the vast project built on the island and especially the scenes where Yevgeny Yevstigne