《红警》是一部宣传公安干警、弘扬社会正气、惩恶扬善的电视连续剧，全剧讲述湖城刑警队侦破11个离奇案件的过程，展现新时代刑警们的风采，侦破情节跌宕起伏，一波三折，扣人心弦，艺术品质与时代话题相结合，体现尊重法律、追求正义的主题，对社会上丑恶现象和犯罪行为进行无情的抨击和反思。淫欲、贪婪、嫉妒、愤怒，一个错误则可以毁掉你的一生。情杀、女大学生代孕杀人、虐待动物和网络暴力、阴婚、乱伦、青少年犯罪、性骚扰、明星吸毒等刑事大案，桩桩件件都深刻暴露了社会上的丑恶现象，对犯罪行为进行无情的抨击和反思。

《红警》是一部宣传公安干警、弘扬社会正气、惩恶扬善的电视连续剧，全剧讲述湖城刑警队侦破11个离奇案件的过程，展现新时代刑警们的风采，侦破情节跌宕起伏，一波三折，扣人心弦，艺术品质与时代话题相结合，体现尊重法律、追求正义的主题，对社会上丑恶现象和犯罪行为进行无情的抨击和反思。淫欲、贪婪、嫉妒、愤怒，一个错误则可以毁掉你的一生。情杀、女大学生代孕杀人、虐待动物和网络暴力、阴婚、乱伦、青少年犯罪、性骚扰、明星吸毒等刑事大案，桩桩件件都深刻暴露了社会上的丑恶现象，对犯罪行为进行无情的抨击和反思。

《红警》是一部长度为23集的电视系列剧，全剧讲述了湖城市公安局某刑侦队侦破的十一个离奇大案。　　在电视剧《红警》中，警方主要人物固定，在讲述…

伊琳娜唆使一批腐败的警察进行了一起完美的银行抢劫行动，由于几人均身处警界内部，反侦察能力极强，因此想要查出案件的真相几乎是不可能的事情。然而，几人并不知道的是，真正的威胁并非来自警方的调查，而是有人正在虎视眈眈的盯着他们所得到的巨额报酬。此役之后，伊琳娜野心不减，殊不知几名警察在巨大的压力之下早已经矛盾重重，濒临崩溃的边缘。其中之一马库斯不仅要面对内心的挣扎，还要应付那个初出茅庐正义感爆棚的菜鸟搭档克里斯，敏锐的克里斯似乎已经开始察觉自己身边正在发生的事情…

Three soldiers get trapped in an elevator when terrorists set off a dirty bomb. But when one escapes, her world turns upside down as she realizes nothing is what it seems.

百无聊赖的法国滨海小镇，惊传离奇车祸断头案，悬案背后暗藏两大外星势力——邪恶0帝国与善良1帝国的角力。0帝国武士附身普通渔夫，与人类生下混种小王子，恶魔血脉开枝散叶，宇宙和平岌岌可危；1帝国公主为阻止0帝国耍阴招侵略地球，奉女王之命无差别血刃敌军臣民。在这个无人在意的世界角落，关乎人类未来的宇宙大战一触即发。

克里斯（利亚姆·海姆斯沃斯 Liam Hemsworth 饰）一直希望能够成为一名警察，却在连连遭遇失败后来到了帝国装甲卡车公司，成为了那里的保镖。没过多久，克里斯便发现，公司内的安保布置看似无坚不摧实际上漏洞百出，他将这个秘密告诉了好友艾迪（迈克尔·安格拉诺 Michael Angarano 饰），谁知道自己的无心之谈竟然惹出了之后的一连串大麻烦。 　　克里斯决定和艾迪联手，两人策划了一宗现金抢劫案，打算在得手之后远走高飞。谁知道这个看似一帆风顺的计划，却因为精明的警探詹姆斯（道恩·强森 Dwayne Johnson 饰）的介入而徒增了风险。与此同时，掌控该片区的黑帮老大亦对两人的计划产生了兴趣。

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… 　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. 　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. 　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.