包括两部片子《NaziMedicine》(纳粹医生)和《The Cross and The Star》 　　发行公司网页http://firstrunfeatures.com/nazimedicinedvd.html 　　The raise and fall of the Nazism, in a artistic and aesthetic view, is brilliantly showed in this film. I regret only that the economic situation of Germany is not presented at the same time, to give a complete big picture of Germany along this dark period of history. The focus is the megalomaniac dream of a sick leader of rebuilding the world in a standard of beauty. This is exposed magnificently in this stunning documentary. Probably it is one of the best ever made. It should be part of the curriculum of any high-school around the world. Indeed, the history teacher of my daughter recommended their students to watch this fantastic movie as a complementary of their class. The raise and fall of the nazism, their concern with arts, the megalomaniac dream of Hitler with pure race and a beautiful and aesthetic Germany first and then the world, are amazingly well presented in this great documentary. The research of Peter Cohen is great, and the clear, didactic and logical presentation gives a class of history to the viewer. Outstanding and remarkable. Two points along this film called mainly my attention: the first one is the dream of Hitler in designing a Berlin more beautiful than Paris (with an Arc of Triumph larger twice than the French one). The images in the end of the documentary shows how it ended. If the viewer has a chance to watch also Roberto Rossellini's movie 'Germany Year Zero' (of 1947), he will have a chance to see the rest of this megalomaniac dream. The other point was the initial preoccupation of Hitler in not dropping bombs in Greece, due to its historical patrimony to mankind. Unfortunately, recently in Iraq, the same respect was not demonstrated, and we watched on TV the destruction of a great patrimony of mankind, with museums, archaeological fields and other historical monuments being bombed. In Brazil, this film is spoken in German with subtitles in Portuguese. My vote is ten. 　　----------- 　　的提高和下降的纳粹主义，在艺术和审美观点，是精辟显示在这部影片。我感到遗憾的只是，该国经济情况的介绍，德国是不能在同一时间，使一个完整的大图片，德国在这黑暗的历史时期。重点是狂妄的梦想，一个生病的领导人重建世界标准的美感。这是暴露在这个惊人的辉煌纪录片。也许这是有史以来最好的。应的课程的一部分的任何高中世界各地。事实上，历史老师，我的女儿建议学生观看精彩的电影作为一种补充的阶级。的提高和下降的纳粹主义，他们的关注与艺术，希特勒的狂妄梦想与纯粹的种族和一个美丽和审美德国，然后在世界上，也非常以及在这一伟大的纪录片。这项研究的彼得科恩是伟大的，和明确的，合乎逻辑的教学和介绍给了一类的浏览器的历史。杰出和显着。沿着这两点要求主要电影我的注意：第一个是希特勒的梦想设计一个更美好的柏林巴黎（与弧门大两倍于法国的一个） 。中的图片的结束文件显示了如何结束。如果观众有机会观赏也罗伯特罗塞里尼的电影'德国零年（ 1947年） ，他将有机会看到余下的狂妄梦想。另一点是最初关注的希特勒不会放弃炸弹在希腊，由于其对人类的历史遗产。不幸的是，最近在伊拉克问题上，同样的尊重并不表明，我们在电视上看到的破坏一个伟大的人类遗产，博物馆，考古等领域和其他历史古迹被轰炸。在巴西，这部电影是讲德语字幕葡萄牙语。

包括两部片子《NaziMedicine》(纳粹医生)和《The Cross and The Star》 　　发行公司网页http://firstrunfeatures.com/nazimedicinedvd.html 　　The raise and fall of the Nazism, in a artistic and aesthetic view, is brilliantly showed in this film. I regret only that the economic situation of Germany is not presented at the same time, to give a complete big picture of Germany along this dark period of history. The focus is the megalomaniac dream of a sick leader of rebuilding the world in a standard of beauty. This is exposed magnificently in this stunning documentary. Probably it is one of the best ever made. It should be part of the curriculum of any high-school around the world. Indeed, the history teacher of my daughter recommended their students to watch this fantastic movie as a complementary of their class. The raise and fall of the nazism, their concern with arts, the megalomaniac dream of Hitler with pure race and a beautiful and aesthetic Germany first and then the world, are amazingly well presented in this great documentary. The research of Peter Cohen is great, and the clear, didactic and logical presentation gives a class of history to the viewer. Outstanding and remarkable. Two points along this film called mainly my attention: the first one is the dream of Hitler in designing a Berlin more beautiful than Paris (with an Arc of Triumph larger twice than the French one). The images in the end of the documentary shows how it ended. If the viewer has a chance to watch also Roberto Rossellini's movie 'Germany Year Zero' (of 1947), he will have a chance to see the rest of this megalomaniac dream. The other point was the initial preoccupation of Hitler in not dropping bombs in Greece, due to its historical patrimony to mankind. Unfortunately, recently in Iraq, the same respect was not demonstrated, and we watched on TV the destruction of a great patrimony of mankind, with museums, archaeological fields and other historical monuments being bombed. In Brazil, this film is spoken in German with subtitles in Portuguese. My vote is ten. 　　----------- 　　的提高和下降的纳粹主义，在艺术和审美观点，是精辟显示在这部影片。我感到遗憾的只是，该国经济情况的介绍，德国是不能在同一时间，使一个完整的大图片，德国在这黑暗的历史时期。重点是狂妄的梦想，一个生病的领导人重建世界标准的美感。这是暴露在这个惊人的辉煌纪录片。也许这是有史以来最好的。应的课程的一部分的任何高中世界各地。事实上，历史老师，我的女儿建议学生观看精彩的电影作为一种补充的阶级。的提高和下降的纳粹主义，他们的关注与艺术，希特勒的狂妄梦想与纯粹的种族和一个美丽和审美德国，然后在世界上，也非常以及在这一伟大的纪录片。这项研究的彼得科恩是伟大的，和明确的，合乎逻辑的教学和介绍给了一类的浏览器的历史。杰出和显着。沿着这两点要求主要电影我的注意：第一个是希特勒的梦想设计一个更美好的柏林巴黎（与弧门大两倍于法国的一个） 。中的图片的结束文件显示了如何结束。如果观众有机会观赏也罗伯特罗塞里尼的电影'德国零年（ 1947年） ，他将有机会看到余下的狂妄梦想。另一点是最初关注的希特勒不会放弃炸弹在希腊，由于其对人类的历史遗产。不幸的是，最近在伊拉克问题上，同样的尊重并不表明，我们在电视上看到的破坏一个伟大的人类遗产，博物馆，考古等领域和其他历史古迹被轰炸。在巴西，这部电影是讲德语字幕葡萄牙语。

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.

维克多（约翰·雷吉扎莫 John Leguizamo 饰）生活在车水马龙的大都市纽约，在这里，他经营着自己的毒品生意。维克多靠着贩卖一种名为“帝国”的毒品发家致富，过着奢靡无度的生活，与此同时，他还邂逅了名为卡门（丹妮丝·理查兹 Denise Richards 饰）的美丽女子，两人走到了一起。 　　卡门怀孕了，这让维克多开始意识到，自己不能够再靠着作奸犯科来赚钱了，他必须找到一个能够给他提供稳定收入但是又合理合法的行当。抱着这样的念头，维克多结识了银行家杰克（彼得·萨斯加德 Peter Sarsgaard 饰），在杰克的带领这下，维克多开始野心勃勃的向纽约上流社会进发。

维克多（约翰·雷吉扎莫 John Leguizamo 饰）生活在车水马龙的大都市纽约，在这里，他经营着自己的毒品生意。维克多靠着贩卖一种名为“帝国”的毒品发家致富，过着奢靡无度的生活，与此同时，他还邂逅了名为卡门（丹妮丝·理查兹 Denise Richards 饰）的美丽女子，两人走到了一起。 　　卡门怀孕了，这让维克多开始意识到，自己不能够再靠着作奸犯科来赚钱了，他必须找到一个能够给他提供稳定收入但是又合理合法的行当。抱着这样的念头，维克多结识了银行家杰克（彼得·萨斯加德 Peter Sarsgaard 饰），在杰克的带领这下，维克多开始野心勃勃的向纽约上流社会进发。