阿道夫·希特勒假装是个穷人，但是却积累了巨大的私人财富。阿尔伯特·斯皮尔曾是一位病态撒谎者-这挽救了他的生命。希特勒让女人着迷，也着迷于她们，特别是着迷于年轻的，脆弱的女人。海因里希·希姆莱的17世纪祖先曾被当作女巫被烧。元首或许已经相信他自己就是犹太人。埃尔文·隆美尔遗弃了他的私生子的母亲。所有这一切被事实残酷核查过的启示有助于说明纳粹帝国的性质。 　　第三帝国最后的秘密 1：希特勒的心腹 　　一战后，德国国内一片混乱，人们的传统信仰发生了动摇。同许多年轻人一样，海因里希·希姆莱成为纳粹的忠实信徒。他放弃天主教信仰，开始研究神秘学。希姆莱通过巫术、神秘仪式和如尼文来蛊惑人心。许多青少年被骗入党卫军这一神秘而恐怖的组织。 　　第三帝国最后的秘密 2：希特勒的将军 　　1944年9月，英国情报部门对俘获的德军将领进行监听，其中一人语出惊人：“隆美尔对我说,必须除掉元首，除此之外别无他法，他必须死。”英国人简直不敢相信自己的耳朵，希特勒最得力的将军——隆美尔居然想要背叛他。短短一个月后，这位伟大的德国陆军元帅溘然长逝。 　　第三帝国最后的秘密 3：希特勒的女人 　　德国女性非常崇拜希特勒，并把她们所有的美好幻想都寄托在希特勒身上。但如果她们知道希特勒有女友、情妇、妻子或家庭，这种崇拜可能就消失了。对纳粹“宣传机器”戈培尔来说，重要的是让希特勒看起来仍是独身，德国已渗透到他灵魂深处，没有任何事能让他分心。 　　第三帝国最后的秘密 4：希特勒的财富 　　希特勒将自己塑造成一个默默无闻、白手起家的人民公仆，事实却迥然不同。他过着非常舒适的生活，放荡不羁。他通常起床很晚，且很少去办公室。他喜欢下午喝咖啡吃蛋糕，晚上喜欢看电影，他喜欢身边围着一大帮朋友。而希特勒花在处理政务上面的时间非常少。 　　第三帝国最后的秘密 5：希特勒的家庭 　　希特勒的祖先与纳粹理想的优等种族相距甚远。关于自己的家族，希特勒要隐藏很多东西，甚至比他知道的还要多。他的哥哥是名重婚者，妹妹曾和一名杀人狂订婚，外甥女自杀身亡，表妹被希特勒的追随者杀害，一个侄子在东线战场牺牲，另一个侄子曾公然向他宣战。 　　第三帝国最后的秘密 6：希特勒的建筑师 　　希特勒忠诚的建筑师兼军备部长——阿尔贝特·施佩尔，深受希特勒赏识，一度被认为是这位独裁者的接班人。他通过奴役集中营里的囚犯，推动着纳粹战争机器的运转。然而在其漫长的一生中，他假装自己是毫不知情的旁观者，扮演“纳粹好人”，逃脱了绞刑。

阿道夫·希特勒假装是个穷人，但是却积累了巨大的私人财富。阿尔伯特·斯皮尔曾是一位病态撒谎者-这挽救了他的生命。希特勒让女人着迷，也着迷于她们，特别是着迷于年轻的，脆弱的女人。海因里希·希姆莱的17世纪祖先曾被当作女巫被烧。元首或许已经相信他自己就是犹太人。埃尔文·隆美尔遗弃了他的私生子的母亲。所有这一切被事实残酷核查过的启示有助于说明纳粹帝国的性质。 　　第三帝国最后的秘密 1：希特勒的心腹 　　一战后，德国国内一片混乱，人们的传统信仰发生了动摇。同许多年轻人一样，海因里希·希姆莱成为纳粹的忠实信徒。他放弃天主教信仰，开始研究神秘学。希姆莱通过巫术、神秘仪式和如尼文来蛊惑人心。许多青少年被骗入党卫军这一神秘而恐怖的组织。 　　第三帝国最后的秘密 2：希特勒的将军 　　1944年9月，英国情报部门对俘获的德军将领进行监听，其中一人语出惊人：“隆美尔对我说,必须除掉元首，除此之外别无他法，他必须死。”英国人简直不敢相信自己的耳朵，希特勒最得力的将军——隆美尔居然想要背叛他。短短一个月后，这位伟大的德国陆军元帅溘然长逝。 　　第三帝国最后的秘密 3：希特勒的女人 　　德国女性非常崇拜希特勒，并把她们所有的美好幻想都寄托在希特勒身上。但如果她们知道希特勒有女友、情妇、妻子或家庭，这种崇拜可能就消失了。对纳粹“宣传机器”戈培尔来说，重要的是让希特勒看起来仍是独身，德国已渗透到他灵魂深处，没有任何事能让他分心。 　　第三帝国最后的秘密 4：希特勒的财富 　　希特勒将自己塑造成一个默默无闻、白手起家的人民公仆，事实却迥然不同。他过着非常舒适的生活，放荡不羁。他通常起床很晚，且很少去办公室。他喜欢下午喝咖啡吃蛋糕，晚上喜欢看电影，他喜欢身边围着一大帮朋友。而希特勒花在处理政务上面的时间非常少。 　　第三帝国最后的秘密 5：希特勒的家庭 　　希特勒的祖先与纳粹理想的优等种族相距甚远。关于自己的家族，希特勒要隐藏很多东西，甚至比他知道的还要多。他的哥哥是名重婚者，妹妹曾和一名杀人狂订婚，外甥女自杀身亡，表妹被希特勒的追随者杀害，一个侄子在东线战场牺牲，另一个侄子曾公然向他宣战。 　　第三帝国最后的秘密 6：希特勒的建筑师 　　希特勒忠诚的建筑师兼军备部长——阿尔贝特·施佩尔，深受希特勒赏识，一度被认为是这位独裁者的接班人。他通过奴役集中营里的囚犯，推动着纳粹战争机器的运转。然而在其漫长的一生中，他假装自己是毫不知情的旁观者，扮演“纳粹好人”，逃脱了绞刑。

수용자의 딸 가인과 혼혈 수영선수 윤건이 서로의 비밀을 들키게 되면서 함께 상처를 치유하고 더 이상 상처받지 않기 위해 세상의 차별 앞에 맞서 성장하는 이야기

수용자의 딸 가인과 혼혈 수영선수 윤건이 서로의 비밀을 들키게 되면서 함께 상처를 치유하고 더 이상 상처받지 않기 위해 세상의 차별 앞에 맞서 성장하는 이야기

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.

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.