新奥尔良的人均谋杀率在全国排名第一。十年前，这座城市被称为“全国谋杀之都”。毒品和暴力控制了街道，对城市的执法,社区和人民造成了伤害。说明这个城市历史黑暗篇章的是“死亡人数”。

Personnel / Personel 　　1975, released Jan. 13, 1976, Poland, TV film 　　16 mm, color, 70 min 　　Director: Krzysztof Kieslowski 　　Screenplay: Krzysztof Kieslowski 　　Cinematography: Witold Stok 　　Music: „Aida”, Giuseppe Verdi, performed by Orchestra of the Grand Theatre and Opera in Warsaw 　　Art Director: Tadeusz Kosarewicz 　　Music arranged by: Michal Zarnecki 　　Production Company: Tor Film Studio, Warsaw, Poland 　　Cast: Juliusz Machulski (future film director, as Romek), Irena Lorentowicz, Wlodzimierz Borunski, Michal Tarkowski (Sowa), Andrzej Siedlecki (Andrzej), Tomasz Lengren, Tomasz Zygadlo, Janusz Skalski, and others. 　　Kieslowski’s first feature-length film is ostensibly about the theater’s anonymous backstage workers: the tailors, painters, modelers. They are creative individuals devoted to their work and vital to a theater’s success. But given the traditional cult of the actor, these craftsmen are underestimated by actors and audience alike. The film’s protagonist, Romek, is a student at a theater technical college. A sensitive young man fascinated by the magic of theatrical art, he finds his first job in the tailoring workshop of the opera. Quickly confronted with the reality behind the scenes - the bickering, petty jealousies, vindictiveness and corruption - his illusions are shattered. His elder colleague, the tailor Sowa, finds himself targeted by an hysterical actor, and socio-political organizations in the theater want to use Romek against Sowa. Kieslowski’s made-for-television microcosm of the society at large, and an early exploration of moral choice in the workplace. 　　Awards: 　　1975 Mannheim (International Film Week) – Grand Prix 　　1975 Mannheim (International Film Week) – International Catholic Film Award 　　1975 Andrzej Munk Award (of the National Film, Television and Theatre School in Lodz) 　　1976 Gdansk (in Gdynia since 1986) (Polish Feature Films Festival) – Best TV Film 　　1976 Gdansk (in Gdynia since 1986) (Polish Feature Films Festival) – Journalists Award for Best TV film 　　1976 „Golden Camera” (from "Film" magazine) - Best Feature Director’s debut of 1975 　　1976 Koszalin (Koszalin Film Meetings "The Young & Film") - Grand Prix "Great Jantar" 　　1979 Lagow (LLF) – Grand Prix „ Golden Grape Cluster” 　　Download Link 　　http://rapidshare.com/files/112091291/Personel__Krzysztof_Kieslowski_1975_.part1.rar 　　http://rapidshare.com/files/112091964/Personel__Krzysztof_Kieslowski_1975_.part2.rar 　　http://rapidshare.com/files/112092060/Personel__Krzysztof_Kieslowski_1975_.part3.rar 　　http://rapidshare.com/files/112091797/Personel__Krzysztof_Kieslowski_1975_.part4.rar 　　http://rapidshare.com/files/112092069/Personel__Krzysztof_Kieslowski_1975_.part5.rar 　　http://rapidshare.com/files/112092150/Personel__Krzysztof_Kieslowski_1975_.part6.rar 　　http://rapidshare.com/files/112091917/Personel__Krzysztof_Kieslowski_1975_.part7.rar 　　http://rapidshare.com/files/112085546/Personel__Krzysztof_Kieslowski_1975_.part8.rar

Personnel / Personel 　　1975, released Jan. 13, 1976, Poland, TV film 　　16 mm, color, 70 min 　　Director: Krzysztof Kieslowski 　　Screenplay: Krzysztof Kieslowski 　　Cinematography: Witold Stok 　　Music: „Aida”, Giuseppe Verdi, performed by Orchestra of the Grand Theatre and Opera in Warsaw 　　Art Director: Tadeusz Kosarewicz 　　Music arranged by: Michal Zarnecki 　　Production Company: Tor Film Studio, Warsaw, Poland 　　Cast: Juliusz Machulski (future film director, as Romek), Irena Lorentowicz, Wlodzimierz Borunski, Michal Tarkowski (Sowa), Andrzej Siedlecki (Andrzej), Tomasz Lengren, Tomasz Zygadlo, Janusz Skalski, and others. 　　Kieslowski’s first feature-length film is ostensibly about the theater’s anonymous backstage workers: the tailors, painters, modelers. They are creative individuals devoted to their work and vital to a theater’s success. But given the traditional cult of the actor, these craftsmen are underestimated by actors and audience alike. The film’s protagonist, Romek, is a student at a theater technical college. A sensitive young man fascinated by the magic of theatrical art, he finds his first job in the tailoring workshop of the opera. Quickly confronted with the reality behind the scenes - the bickering, petty jealousies, vindictiveness and corruption - his illusions are shattered. His elder colleague, the tailor Sowa, finds himself targeted by an hysterical actor, and socio-political organizations in the theater want to use Romek against Sowa. Kieslowski’s made-for-television microcosm of the society at large, and an early exploration of moral choice in the workplace. 　　Awards: 　　1975 Mannheim (International Film Week) – Grand Prix 　　1975 Mannheim (International Film Week) – International Catholic Film Award 　　1975 Andrzej Munk Award (of the National Film, Television and Theatre School in Lodz) 　　1976 Gdansk (in Gdynia since 1986) (Polish Feature Films Festival) – Best TV Film 　　1976 Gdansk (in Gdynia since 1986) (Polish Feature Films Festival) – Journalists Award for Best TV film 　　1976 „Golden Camera” (from "Film" magazine) - Best Feature Director’s debut of 1975 　　1976 Koszalin (Koszalin Film Meetings "The Young & Film") - Grand Prix "Great Jantar" 　　1979 Lagow (LLF) – Grand Prix „ Golden Grape Cluster” 　　Download Link 　　http://rapidshare.com/files/112091291/Personel__Krzysztof_Kieslowski_1975_.part1.rar 　　http://rapidshare.com/files/112091964/Personel__Krzysztof_Kieslowski_1975_.part2.rar 　　http://rapidshare.com/files/112092060/Personel__Krzysztof_Kieslowski_1975_.part3.rar 　　http://rapidshare.com/files/112091797/Personel__Krzysztof_Kieslowski_1975_.part4.rar 　　http://rapidshare.com/files/112092069/Personel__Krzysztof_Kieslowski_1975_.part5.rar 　　http://rapidshare.com/files/112092150/Personel__Krzysztof_Kieslowski_1975_.part6.rar 　　http://rapidshare.com/files/112091917/Personel__Krzysztof_Kieslowski_1975_.part7.rar 　　http://rapidshare.com/files/112085546/Personel__Krzysztof_Kieslowski_1975_.part8.rar

Synopsis 　　Having lost her husband in the Korean War and living as a refugee with her daughter Ju (Lee Seong-ju), Shin (Lee Min-ja) gets by with the help of her late husband's friend Lee Seong-jin (Shin Dong-hun). However, Lee's sense of duty toward his friend's widow soon turns into love. Sensing his feelings for Shin, Lee's wife (Park Yeong-suk) upbraids her husband in deep jealousy and hysteria, and even resorts to finding solace in the arms of a young man named Taek (Lee Taek-kyun), whom she meets by chance. The fiery affair between Taek and Lee's wife takes a different turn when Taek saves Shin's daughter Ju from drowning at the beach. Although Shin finds herself receiving romantic overtures from Lee, she falls in love instead with the savior of her daughter's life and entrusts her daughter to another family in order to move in with Taek. Unfortunately, Taek's former girlfriend Jin (Na Ae-sim), thought to have died in the war, returns and he decides to leave Shin, to her utter dismay. Already settled with Jin, Taek bids Shin farewell, but Shin, who had sought to find truth in her love life with Taek, is shocked into pointing a knife at her lover. 　　Notes 　　"The first and final film by Korea's original female director, Park Nam-ok, which faithfully portrays from a female perspective the desires of women after the Korean War." 　　The Widow, by Korea's first female director, realistically portrays from a woman's perspective the actual hardships and circumstances faced by post-war widows. When her husband's death results in the loss of her livelihood, the female protagonist accepts financial assistance from her husband's friend even as she resists his romantic advances. When she falls in love with a younger man, she is true to her own desires to the extent of leaving her daughter with another family and setting up a business and a home with the money she has received from her husband's friend. Interestingly, The Widowdoes not mythologize its depiction of motherhood, opting instead to starkly represent the honest desires of women after the war. Although Shin demonstrates inner conflict between romantic and maternal love, she ultimately chooses the former. The film could be said to present its female protagonist as someone, who is shockingly true to herself, but, at the same time, it refrains from vilifying her, or depicts her in an unsympathetic light. 　　Unlike many male directors who looked with a hypocritical, duplicitous gaze of fascination and chastisement on post-war "apres girls," Park Nam-ok's empathetic portrayal maintains a clear female perspective by showing just how difficult it was for women to survive among men while realizing their own desires. 　　Afterword: 　　- The surviving film stock lacks the final scene, making it difficult to ascertain the film's ending. 　　- The Widow came under the spotlight when it was screened at the 1st Women's Film Festival in Seoul, in 1997.

Synopsis 　　Having lost her husband in the Korean War and living as a refugee with her daughter Ju (Lee Seong-ju), Shin (Lee Min-ja) gets by with the help of her late husband's friend Lee Seong-jin (Shin Dong-hun). However, Lee's sense of duty toward his friend's widow soon turns into love. Sensing his feelings for Shin, Lee's wife (Park Yeong-suk) upbraids her husband in deep jealousy and hysteria, and even resorts to finding solace in the arms of a young man named Taek (Lee Taek-kyun), whom she meets by chance. The fiery affair between Taek and Lee's wife takes a different turn when Taek saves Shin's daughter Ju from drowning at the beach. Although Shin finds herself receiving romantic overtures from Lee, she falls in love instead with the savior of her daughter's life and entrusts her daughter to another family in order to move in with Taek. Unfortunately, Taek's former girlfriend Jin (Na Ae-sim), thought to have died in the war, returns and he decides to leave Shin, to her utter dismay. Already settled with Jin, Taek bids Shin farewell, but Shin, who had sought to find truth in her love life with Taek, is shocked into pointing a knife at her lover. 　　Notes 　　"The first and final film by Korea's original female director, Park Nam-ok, which faithfully portrays from a female perspective the desires of women after the Korean War." 　　The Widow, by Korea's first female director, realistically portrays from a woman's perspective the actual hardships and circumstances faced by post-war widows. When her husband's death results in the loss of her livelihood, the female protagonist accepts financial assistance from her husband's friend even as she resists his romantic advances. When she falls in love with a younger man, she is true to her own desires to the extent of leaving her daughter with another family and setting up a business and a home with the money she has received from her husband's friend. Interestingly, The Widowdoes not mythologize its depiction of motherhood, opting instead to starkly represent the honest desires of women after the war. Although Shin demonstrates inner conflict between romantic and maternal love, she ultimately chooses the former. The film could be said to present its female protagonist as someone, who is shockingly true to herself, but, at the same time, it refrains from vilifying her, or depicts her in an unsympathetic light. 　　Unlike many male directors who looked with a hypocritical, duplicitous gaze of fascination and chastisement on post-war "apres girls," Park Nam-ok's empathetic portrayal maintains a clear female perspective by showing just how difficult it was for women to survive among men while realizing their own desires. 　　Afterword: 　　- The surviving film stock lacks the final scene, making it difficult to ascertain the film's ending. 　　- The Widow came under the spotlight when it was screened at the 1st Women's Film Festival in Seoul, in 1997.

讲述接收到上级命令前往调查北朝鲜大规模杀伤性武器的南韩特工的惊心动魄的故事...

讲述接收到上级命令前往调查北朝鲜大规模杀伤性武器的南韩特工的惊心动魄的故事...

24岁生日当天，芭芭拉得知丈夫战死越南，20年后，她决定拍一部关于越战的电影。在一位南越遗孀的陪同下，她走遍丈夫当年打仗的地方，藉由影像和新闻片段的交错寻问战争的本质，美、越两地的战后寡妇交相谈论战争带来的阴影，并不是要批判战争，而是让一段段错失的得以重新复活。

24岁生日当天，芭芭拉得知丈夫战死越南，20年后，她决定拍一部关于越战的电影。在一位南越遗孀的陪同下，她走遍丈夫当年打仗的地方，藉由影像和新闻片段的交错寻问战争的本质，美、越两地的战后寡妇交相谈论战争带来的阴影，并不是要批判战争，而是让一段段错失的得以重新复活。