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堕落街4.0
类型：纪录片 集数：高清年份：1981别名：堕落街|一个少女的自白
简介：本片背景为20世纪70年代的德国，讲述了一名14岁的少女从吸毒到卖淫，一步步走向堕落的故事。 未满14岁的克里斯蒂安娜来自一个离异家庭，她和母亲妹妹一同生活在西柏林一家公寓里。当时的年轻人都到当地一家迪斯科“Sound”里玩，在朋友的陪同下，未成年的她也进入了这个迷幻世界。在这里，她认识了少年德特勒夫和他的朋友们。夜里，他们一群人常常一起流连街头，渐渐地，她爱上了德特勒夫，还尝试和他一起吸食迷幻剂。为了搞到买毒品的钱，德特勒夫会到一个叫“动物园”的地方物色对象进行卖淫。克里斯蒂安娜一开始不愿意德特勒夫做这种事，后来她自己也开始注射毒品，也开始到“动物园”里来。少女克里斯蒂安娜，一步步走向迷幻堕落的深渊…… 本片根据少女克里斯蒂安娜·F的亲身经历改编。
从清晨到午夜3.0
类型：剧情片 集数：高清年份：1920别名：从清晨到午夜|从早到晚,FromMorntoMidnight
简介：Georg Kaiser decribes in his Expressionist theater play the attempt of a bank cashier to escape his middle class daily life. Director Karlheinz Martin's adaptation transfers Kaiser's play into an Expressionist film of radical stylization. The German film industry was so irritated by the result that the film never found a distribution and was never shown in German cinemas. The only existing print of this classic survived in Japan where the film received a cinema release and was preserved by the National Film Center. The material world of Von morgens bis mitternachts seems like a hallucination and as such is characterized as deliberately banal as well as fragile, unfinished and unstable. The architect Robert Neppach used the dazzling simplicity of the painted décor to illustrate the nature of things, social and human relationships. Here, the bank reveals itself as a life-sucking dungeon, the fence at the cashier's house accentuates a prison, itself trapped in its own location. The unreal, painted rays of light on the hotel staircase leading to the lady's room simultaneously illustrate desire and the absence of any kind of basis for it. Strong contrasts, distorted forms and perspectives indicate structures of reality without depicting a different, fantastic nature, and condense them to such an extent that "the fabric of the outer world" becomes discernible. Light, costume and makeup design corresponded to the graphic concept and the sharply contrasting emphasis on light and darkness. Also the cashier's clothes, contoured with stripes of white paint, seem torn, appearing to mirror his mental constitution. Even if the characters have not quite discarded their "organic form" completely, producer Rudolf Kurtz had a point: they "are parts, formal elements of a decorative thought process, they are part of a three-dimensional image, are torn by flecks of light and stripes which have been painted onto them." The cashier's makeup complies with the graphic black and white contrasts. His white face, his panda eyes, the black contour lines along his brow and the bridge of his nose and a rampant moustache characterize a person who is socially deformed and yet thirsty for life. The remaining characters also have their respective social characteristics painted on their faces in drastically emphatic and exaggerated physiognomic detail. Even the most dazzling light effects are not used to form three-dimensional space but accentuate lines and details of graphic image composition in accordance with the décor of the set. The main stylistic problem in almost all explicitly antinaturalistic films is how the actor, who can only artificially exaggerate his natural physiognomic traits to a certain extent, can be integrated into the image composition. In no other film in the tradition of narrative cinema outside the fantasy genre has this been done so obviously as in Von morgens bis mitternachts, where the actors have also formally become part of the concept of décor and image. Ernst Deutsch in the role of the cashier dissolves his movements into tense and then suddenly explosive gestures; he emphasizes, lengthens, or accelerates single details and never presents an organic, overall sequence of movements. The black, mimic lines on his face, mainly his cheekbones and his eye sockets, which essentially characterize the gaunt face of the actor, are painted onto a chalky white face, giving him the appearance of a woodcut. The ambivalent role of the cashier; the change from an initially geriatric appearance, full of burning inner intensity in the first part of the film, to a younger exterior filled by the advancing senility of the desired inner fulfillment, was portrayed to its fullest extent by Ernst Deutsch. His amazing ability to "age so suddenly and terribly" had already been noted in his rebellious youthful roles in expressionist plays. Karlheinz Martin also used images composed with the help of cinema technology to a great extent, whenever they could be integrated into the artificial style concept, such as the footage of the sixday race, with the rush and ecstasy of the spectators addicted to entertainment. Different camera perspectives show several terraced rows of seats in historical structure, where the social stratum of the privileged class, the bourgeoisie, the petty bourgeoisie, and the proletariat is illustrated and the accelerated rhythm of the movement of the camera suddenly becomes a vertiginous ride in a paternoster. The race itself has an accentuated cinematic form. The cashier says in Kaiser's drama: "I see a circle and a gaudy wavy line." It is displayed in a totally darkened room which illustrates an abstraction of a racetrack as an elliptical warped strip of dazzling light. The cyclists appear racing through this set in lap-like internals. The whole scene was filmed through a mirror or a convex lens, giving an unreal, distorted impression of the race. Lotte Eisner described this scene as follows: "The cyclists are transformed into an anamorphosis, they are stretched and through the magic of light and with the help of a distorting lens they become sparkling facets." Von morgens bis mitternachts may have enriched the development of cinema-aesthetics, nevertheless a public showing never took place in Germany in the 1920s. Producer Rudolf Kurtz blamed the radical use of real human beings as a design element in the construction of the film image for the reluctance of cinema owners to show Von morgens bis mitternachts: "This moving around of human beings which only serve as formal elements, obstructs any access to the film." The effect of coldness and strangeness resulting from the unusual, artificial formal restrictions, the denial of three-dimensionality and object arrangement as well as the similarly inorganic and rhythmic-mechanical acting style was a deliberate calculation. It sums up rather precisely the intentions of this production: to illuminate frozen and grotesque images of society with the same dazzling light as desperate, and hence equally distorted, attempts to break out of a world which is unwilling to change. The fact that the film was ignored by commercial distributors and cinemas set an early limit on the marketability of rigorously abstract tendencies in narrative cinema. Jürgen Kasten
类型：纪录片 集数：高清年份：2004别名：SeekersofOblivion|IsabelleEberhardt:SeekersofOblivion
简介：Isabelle Eberhardt。2,17,1877--10,21,1904。二十七年写下的神秘传奇。 母亲出身贵族但病态地软弱，无政府主义的妄想狂父亲一直同她保持秘密的地下关系。私生女的身份让伊莎贝尔的童年沉默自卑，并且在以后的生涯中经常对出身进行不同的编造。幼年时居住在一所名叫“新城市”的杂乱大房子里，破旧花园，内部如有幽灵般空荡。 在充满迷雾与杂草中，伊莎贝尔书写的小说有始无终，对阿拉伯世界和伊斯兰产生了无法抑制的兴趣。绝望寻找根基的少女发现了沙漠，它干净，显而易见，缺少隐藏。 十九岁时她在照相馆拍了两张装扮成男人的照片，从此开始了隐藏性别的旅行。 母亲去世，哥哥自杀，据说她毒杀了父亲，之后回到北非。她与男人一起去妓院，死时生活糜烂，患有梅毒和疟疾。双重人格的分裂导致她的生活早晨纯真禁欲，夜晚则阴暗扭曲。不过她嫁给年轻的谢里姆并与之经历了四年的爱情生活，是出奇地纯洁与世俗的。 她患有厌食症，企图让自己饿死，已经是接近边缘的人。她死于一场洪水，法国士兵在棚屋的废墟中发现了她插在烂泥里的腿，装扮成穆斯林男人的瑞士女作家。 或许她回到了小的时候，在她童年地狱般的花园里，腐烂和杂草丛生的小路上，独自跳舞。
女卡车司机4.0
类型：剧情片 集数：已完结年份：2016别名：女卡车司机|DieTruckerin-EineFraugehtdurchsFeuer
简介：Toni Zweyer过着自己想要的生活。她是卡车司机Andy的贤妻，13岁孩子Lea的慈母，和丈夫共同经营自己家的货运生意。但当得知丈夫Andy死于车祸时，一切都改变了。公司债务日益沉重，她与孩子已别无他路，Toni只能自己握住了18吨卡车的方向盘。她很快意识到，跑国际长途货运对一个新手来说，是多么的残酷艰难。Toni一直觉得他的丈夫尚存人间，随着调查愈加深入，她便愈加确信这一点。她从一个声名狼藉的商人那得知了真相，但这个真相让她被劫持、被绑架，目睹军火走私，走上了被警察追缉的逃亡之路。这可能不是她想要的生活，但Toni永远不会放弃抗争。
丛林中的莫扎特第四季7.0
类型：欧美剧 集数：10集全年份：2018别名：丛林中的莫扎特第四季
简介：当乐团在台上演奏气势恢弘的交响乐时，人们会为之倾倒，可是谁又能想到幕后发生着什么？有艺术的奉献精神，有创意的碰撞，有尔虞我诈的心理游戏，有勾心斗角的政治活动，还有残酷的生存本能……
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