Franc
搜索"Franc" ，找到 435部影视作品
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Dario Piana
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模特西尔维娅·奥尼尔（乔亚·斯科拉饰）和她的同事劳伦、米歇尔和莱斯利（兰迪·英格曼、赫拉娜·耶酥和诺拉·阿里芬饰）正在与可疑的经纪公司老板亚历克斯·康蒂签约。当与导演大卫拍摄广告时，富商里兹意识到了她们。他勒索亚历克斯，让他去引诱西尔维娅去他家参加一个假聚会，最终里兹强奸了她…… 第二天早上，西尔维娅烧焦的尸体在一场车祸中被发现，对布兰达尼局长来说，如果不是因为她头上的弹孔的话，起码一开始这看起来像是一场意外。 导演大卫，目前正在拍摄一个音乐视频，他遇到了美丽的美国人梅兰妮罗伯茨（弗罗伦丝格林 饰），以替代西尔维亚的工作。但随后凶杀案开始了，利用专门为音乐视频制作的凶杀工具，它似乎想对西尔维亚的死进行蒙面的未知报复。
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劳伦·冈泰
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新学期伊始，教师与学生们返回一所普通的社区学校。法语老师兼班主任的弗朗索瓦·马林（François Bégaudeau 饰）面对升一年级的新班级，继续用坦诚又有些好辩的方式教学，这群14岁左右的学生思维活跃，时常在宽松的课堂上反诘马林或是斗嘴、传播八卦，马林不得不一次次中断进度，解决无数琐碎的问题。这所学校内汇聚了来自多国的移民学生，随之而来的问题时常在课堂细节中体现，马林试图尽量让学生们找到自尊，但这些擅于让老师头疼的孩子似乎不太接受马林的说辞。课堂上的唇枪舌剑与部分学生敌视老师的态度让潜藏着的矛盾随时会爆发。 本片获2008年戛纳金棕榈奖，由小说原著兼编剧的François Bégaudeau主演。
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詹姆斯·马什
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1974年8月7日，法国杂技名人菲利普·珀蒂（保罗·麦克吉尔 Paul McGill饰）在纽约世贸大厦高达110层（412米）的两座大楼之间，完成了一次至今仍令人叹为观止的壮举——搭起了一条横跨天穹的钢索，完成了长达45分钟的大胆表演。谁也想不到，这个害羞的25岁男孩菲利普，在朋友们的帮助下，缜密调查筹划，突破层层关卡，终于神不知鬼不觉地完成了这次极其危险而疯狂的“艺术犯罪”。菲利普在钢索上或跪或躺，时而慢行时而舞动。影片镜头细腻地捕捉到了当年无比惊险的分秒，并生动地重演了现场，再加上人物访谈等多种手法，使得这部逐梦世贸大厦间的纪录片，在美国911事件后，弥足珍贵。 这部由BBC、Discovery和UK Film Council联合出品的传记类纪录片《走钢丝的人》，荣获2009年第81届奥斯卡金像奖-最佳纪录长片，2009年第62届英国电影和电视艺术学院奖-最佳英国影片，及2008年第21届欧洲电影奖-最佳纪录片奖提名。
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梅拉尼·罗兰
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十七岁的查理（Joséphine Japy 饰）乖巧懂事，是个十分讨人喜欢的女孩，和大部分同龄的姑娘们一样，查理对未来充满了美好而又光明的幻想。莎拉（Lou de Laâge 饰）满头金发，走在校园里十分惹眼，而她的性格和她的发色一样张扬而高调，萨拉向往无拘无束的自由生活，几乎就是循规蹈矩墨守成规的查理的对照面。 在充满了青春活力的校园中，这两个个性截然相反的女孩相遇了，只一眼，查理就被奔放开朗的萨拉给深深吸引。随着时间的推移，两人越走越近，最终成为了无话不谈的闺中密友，然而，交往的深入带来的却是友情的裂痕，无论是查理或是莎拉，都无法阻止这裂痕越来越大。
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米歇尔·欧斯洛
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故事发生在中古世纪，阿祖尔是个金发碧眼的欧洲贵族，与父亲生活在豪华的宫殿中。与他共同生活的，还有奶妈和她的儿子——黑发、褐色皮肤的阿斯马尔。奶妈悉心照顾两个男孩，并且给他们讲述仙灵女的童话故事。但是随着阿祖尔慢慢长大，他父亲把他送到外面接受更专业的教育，并且解雇了奶妈，把她和阿斯马尔赶出了宫殿。 成年后的阿祖尔回到了宫殿，决定要外出冒险，却意外流落到了陌生的国度。在这片中东土地上，阿祖尔经历了多番波折之后，居然与奶妈和阿斯马尔重逢。随后，这两位代表着不同种族的王子——阿祖尔和阿斯马尔，都决定要去寻找仙灵女，途中他们遇到种种困难，互为竞争对手的他们能否救出仙灵女……
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塔西姆·辛
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电影特技演员罗伊•沃克（Lee Pace 饰）在拍摄一组骑马从桥上一跃而下的镜头时严重受伤，导致下半身瘫痪失去知觉。此时的他极度绝望，万念俱灰，只想一死了之。正当罗伊沮丧之际，因摔断胳膊住进医院的5岁小女孩亚历珊卓（Catinca Untaru 饰）闯入了罗伊的世界。 这两个年龄悬殊的病友就此交上了朋友，亚历珊卓每天来罗伊的病房报到，只为听朋友讲那个玄幻神奇的故事。而罗伊用这个顺口编出的故事吸引小女孩，却想完成借机完成他的自杀计划…… 本片荣获2007年柏林影展玻璃熊特别表扬-最佳影片奖、Sitges - Catalonian International Film Festival的最佳影片奖、2008年奥斯汀影评人协会奖最佳剧本。
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François,Dupeyron
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15岁的以色列小男孩莫塞斯（Pierre Boulanger 饰）和父亲（Pierre Boulanger 饰）住在巴黎蓝色大道一幢贫穷脏乱的公寓中。母亲（Isabelle Renauld 饰）离家出走，父亲整天沉迷于书本，还编造出一个并不存在的优秀的哥哥打击莫塞斯。本该享受童年快乐的小男孩压抑阴郁，在附近的流莺献出了自己的第一次。
莫塞斯去附近的土耳其穆斯林亚伯拉罕先生（Omar Shariff 饰）的杂货店里偷盗，被亚伯拉罕发现。和蔼的老人原谅了眼前这个小男孩，并亲切地向他传授知识，一老一少从此展开一段弥足珍贵的忘年交……
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彼得·海姆斯
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1979年，罗马梵蒂冈教廷意识到和恶魔撒旦有着莫大关系的一名女婴诞生在纽约，二十年后，距离本世纪还剩最后三天的12月28日，撒旦（加布里埃尔·伯恩 Gabriel Byrne 饰）以一名人类银行家的肉身重现人间，丧失了妻女的前任警察杰瑞克（阿诺·施瓦辛格 Arnold Schwarzenegger 饰）和自己的安保团队受雇于伪装的魔鬼，为其提供保护。不久一名神父冒死狙杀撒旦，不幸失败，他在临死前向布瑞克提出警告。布瑞克与同伴按照神父留下的线索找到了女子克里斯汀（罗宾·汤尼 Robin Tunney 饰），得知她是命中注定要与撒旦结合的女性，如果撒旦能在千禧之夜和克里斯汀发生关系，那就意味着世界的毁灭。布瑞克决定不惜一切代价以人类的身份阻挡撒旦……
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雅克·费代尔
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Released in France as La Kermesse Heroique, Carnival in Flanders is set during the long-ago war between the Dutch and Spanish. A tiny village in Flanders is invaded by Spanish troops. The townsfolk have heard of Spanish cruelties in other towns, and decide to deflect the vanquishers by playing dead. This isn't terribly effective (you have to take a breath once in a while), so the wife of the burgomaster tries to soften up the invaders with a lavish carnival. So successful is this venture that the Spaniards allow the village to escape being decimated, or even taxed. An award-winner many times over, Carnival in Flanders was banned in Germany evidently, Goebbels caught on that director Jacques Feyder and scenarists Bernard Zimmer and Charles Spaak were drawing deliberate parallels between the Spanish and the then-burgeoning Nazis.
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路易·德吕克
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Though Delluc's career was short-lived, it burst vigorously(7 films in 4 years)that it forever left its imprint on french cinema history, and they rightly honoured him by giving the annual Prix Delluc to the best French film of the year. He was responsible for the creation of influential cinema journals like Le Journal du Ciné-Club and Cinéa, founding numerous film societies, writing countless articles and coining the term "cineaste". Delluc believed that films should be set in the natural without elaborate posturing, and characters should be portrayed in an intimate way where the past and present, illusion and reality can be correlated, all considered to be avant-garde at its time. He died only a few weeks after the shooting of The Flood at the age of 33.
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埃里克·冯·施特罗海姆
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Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"? The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
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让-马里·斯特劳布
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81-year-old master, Jean-Marie Straub, once again invents and surprises with his latest film. Kommunisten consists of six parts, five of which have been taken from his earlier works. Straub does not aim to be self-reverential, but instead wants to make different blocks (of text, time, and languages) clash so as to highlight invisible elements of feelings and politics. It is a film about human adventure, from the past century to the one ahead. In this project, all the things that the films of Jean-Marie Straub and Danièle Huillet have been based on for the past fifty years, find their most raw and recent form.
