In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.

创作海贼故事是尾田荣一郎长久以来的梦想，他小时候一直很好奇为什么没有什么漫画以海贼为主题，他顶多只知道有《 北海小英雄》这部动画。他认为男孩长到某个年纪后应该就会想要出海寻宝才对。尾田从小就很想看海贼的漫画，那个时候他对自己说，如果要自己画的话，那就一定会画海贼的故事。不管作品卖不卖得掉，他都是作好了心理准备才会这么选择的，纯粹就是他自己想看而已 。尾田荣一郎在初一时，第一次画了海贼漫画，而尾田对海贼冒险所抱着的想象太丰富，就一本笔记本也画不完。他认识到用“一期完”的形式来画海贼漫画是不可能的，于是他决定要在《 少年JUMP》上连载海贼漫画 。1997年，尾田荣一郎创作了海贼漫画《 Romance Dawn》，这部一话完结的短篇漫画正是《航海王》的创作原型，后来这个名字还被《航海王》第一话作为副标题使用。当然，虽然两部漫画的主人公都叫路飞，性格却判若两人，剧情也并不相同 。然而，《Romance Dawn》最初因页数关系没法《少年JUMP》里刊登，于是他将《Romance Dawn》的内容删减，用“一期完”的形式在《少年JUMP》的本志和增刊上刊载了它，因为尾田当时已经决定将《Romance Dawn》作为《航海王》的雏形，他也准备以《航海王》的形式书写另一个版本的《Romance Dawn》。怀着两部海贼漫画，尾田荣一郎辞去了 和月伸宏的《 浪客剑心》助理一职，向连载方面发展 。尾田荣一郎小时候是看着 鸟山明的《 龙珠》长大的，那部作品对他影响巨大。当时尾田最大的心愿就是能在单行本中看到更多的集数。于是当他自己成为漫画家以后，坚持要让《航海王》的单行本分量更足。他小时候还有一个“打击”，他曾天真地以为《 龙珠》是鸟山明一个人画的，但实际上漫画家都有助手协助。尾田第一次得知这个真相的时候，感觉“受骗了”。这个“打击”让他刻骨铭心，所以他成为漫画家之后竭尽所能不让孩子们失望。《航海王》画面中所有动态的部分都是 尾田亲笔画的，助手只做一些很简单的工作。这是极少见的。虽然尾田把这个故事画了十多年了，但的确从一开始他就想好了结局，这个结局只有几个主要编辑知道，绝不能透露。不过，虽然结局是已知的，中间的过程却未知，会有些什么故事，尾田老师自己也不知道。

传奇海盗哥尔•D•罗杰在临死前曾留下关于其毕生的财富“One Piece”的消息，由此引得群雄并起，众海盗们为了这笔传说中的巨额财富展开争夺，各种势力、政权不断交替，整个世界进入了动荡混乱的“大海贼时代”。 　　生长在东海某小村庄的路飞受到海贼香克斯的精神指引，决定成为一名出色的海盗。为了达成这个目标，并找到万众瞩目的One Piece，路飞踏上艰苦的旅程。一路上他遇到了无数磨难，也结识了索隆、娜美、乌索普、香吉、罗宾等一众性格各异的好友。他们携手一同展开充满传奇色彩的大冒险…… 　　本片根据日本漫画家尾田荣一郎超人气漫画原作《One Piece》改编。

Netflix制作《海贼王》真人版。伊纳基·戈多伊饰路飞，新田真剑佑饰索隆， 埃米莉·拉德饰娜美，Jacob Romero Gibson饰乌索普，Taz Skylar饰山治。

暂无剧情简介

暂无剧情简介

暂无剧情简介

传奇海贼王哥鲁多•罗杰伏法受刑，而他死前宣告大宝藏ONE PIECE的存在，从而为波澜壮阔的大航海时代拉开序幕。本片是带有回顾性的短片，首先对草帽海贼团的七人组做了介绍，团长路飞、剑豪索隆、爱钱美人娜美、七段变身驯鹿乔巴、考古学者罗宾、美食家厨师香吉士以及有着航海梦想的乌索普等人的性格、背景和绝招先后得到较为详细的介绍。接下来，由快速地浏览了超人系、自然系、动物系等恶魔果实的特征和经典持有者以及动画中出现的各种不可思议的动物。此外，还对2000—2005年的历年剧场版做了简要回顾。 　　海贼王的航程仍在继续，更大的冒险在前方等待着他们……

高校1年生の海賊王（ルフィ）と菜美（なみ）は 　　二人ともワンピースのキャラクターの名前ということもあり、距離を縮めていた。 　　しかし、そこにワンピースネームを持つもう１人の同級生、 　　嘘風（ウソップ）が現れたことで、穏やかな日常が崩されてしまう。 　　嘘風は海賊王と菜美を巻き込んで「海賊部」を結成し、船員を集めていく。 　　こうして〝ひとつなぎの大秘宝〟を目指す、ドタバタな学園生活が幕を開けるーー！