In Umbracle, an aleatory horror film that paints a critical image of Francoist Spain, Portabella continues his exploration of the language of experimental cinema and develops his aesthetic of combining documentary with reenactment. He worked with Christopher Lee to produce an "ideal and predetermined cliché[d]" image of an actor: "Lee offered to perform my ideas with pleasure. I even managed to get him to do the hardest thing an actor can do: nothing." 　　Low-budget horror-film star Christopher Lee makes a second appearance as the iconic centerpiece of a Portabella film (CUADECUC--VAMPIR was his first), this time as an imposing but ghostly figure wandering the streets of Barcelona. Through film clips that evoke Chaplin and other silent-era comedians, Dadaist poetry, and mysterious melodrama, Portabella makes a bid for unfettered artistic freedom calculated to scramble the brains of Franco-regime censors. 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Bunuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. MoMA first screened a Portabella work—Vampir Cuadecuc (1970)—on January 27 and 28, 1972, in its Cineprobe program. After a thirty-five year absence, the Department of Film is honored to welcome Portabella back to introduce the New York premiere of his recently completed The Silence before Bach (2007). Roundtable discussions will also be held at New York University, September 27–28. All films directed by Portabella. 　　http://www.chicagoreader.com/features/stories/moviereviews/061110/

In Umbracle, an aleatory horror film that paints a critical image of Francoist Spain, Portabella continues his exploration of the language of experimental cinema and develops his aesthetic of combining documentary with reenactment. He worked with Christopher Lee to produce an "ideal and predetermined cliché[d]" image of an actor: "Lee offered to perform my ideas with pleasure. I even managed to get him to do the hardest thing an actor can do: nothing." 　　Low-budget horror-film star Christopher Lee makes a second appearance as the iconic centerpiece of a Portabella film (CUADECUC--VAMPIR was his first), this time as an imposing but ghostly figure wandering the streets of Barcelona. Through film clips that evoke Chaplin and other silent-era comedians, Dadaist poetry, and mysterious melodrama, Portabella makes a bid for unfettered artistic freedom calculated to scramble the brains of Franco-regime censors. 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Bunuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. MoMA first screened a Portabella work—Vampir Cuadecuc (1970)—on January 27 and 28, 1972, in its Cineprobe program. After a thirty-five year absence, the Department of Film is honored to welcome Portabella back to introduce the New York premiere of his recently completed The Silence before Bach (2007). Roundtable discussions will also be held at New York University, September 27–28. All films directed by Portabella. 　　http://www.chicagoreader.com/features/stories/moviereviews/061110/

动画新剧《恐龙卡车》，早在2009年梦工厂就以6位数的价格买下了原作者克里斯·高尔的影视改编权，现在终于要推出剧集了。《恐龙卡车》的原著全书只有32页，但充满想象力：故事发生在一个虚构的史前时代，那个世界的主宰是一群“恐龙卡车”（Dinotrux），这种生物一半是恐龙、一半是卡车，而且和真正的恐龙一样有很多种类，如肉食恐龙卡车、垃圾车龙、霸王龙卡车等等。

1967年8月13号，Kuk Dong电影公司推出了一部名为《大怪兽龙卡利》的科幻电影，主角是一头喷火的巨型恐龙；趁着日本怪物电影盛行东风，它在北美市场也受到了关注，后被誉为“韩国科幻电影鼻祖”。

恐龙机械获得力量后变得前所未有的迅猛和敏捷，他们将面临新的挑战，并结交新伙伴。

在Entroncamento，暴力、不幸、贪婪和忠诚统治着街头巷尾。劳拉来到这里，想要重建生活，但金钱和犯罪的诱惑却让她瞬间重回动荡的过去。对于她在这个十字路口遇到的人们来说，每一天都意味着一场抉择：他们曾经是谁，未来又会是谁。

在Entroncamento，暴力、不幸、贪婪和忠诚统治着街头巷尾。劳拉来到这里，想要重建生活，但金钱和犯罪的诱惑却让她瞬间重回动荡的过去。对于她在这个十字路口遇到的人们来说，每一天都意味着一场抉择：他们曾经是谁，未来又会是谁。