IMDB简介 Pierre married Florence, the only daughter of a small industrialist. 15 years later, he is the boss, but his middle-class life worries him a lot. When a new young and lovely secretary comes, he starts dreaming. Written by Yepok Twenty-five year old Pierre is a man who likes to play the field, about which most of girlfriends are aware. Pierre falls into a relationship with Florence Girard, who he loves and marries more out of circumstance than anything. Their life is less than the exciting one he envisioned for himself, as he ends up working for Florence's father in the office of the family business, a tannery. Old habits surface as he embarks on a few extramarital dalliances, which he sees solely as distractions from the problems of marriage, one of those problems with Florence being her mother, who Florence resembles. Thus he sees his future as that of his staid in-laws. It isn't until he is in his late thirties that he truly does begin to contemplate ending the marriage, all because of his new eighteen year old secretary, Agnès, with who he believes he has fallen in love. The questions become whether he will do anything about it, if his feeling for Agnès truly is love, whether Agnès has similar feelings for him, and how Florence truly feels about marriage to him after ten years and visa versa. Written by Huggo
It's a love story between a fashion blogger and a video game blogger. The beauty and the nerd. Katrina是一个当红的时尚博客博主,而Fernando则是一个普通的游戏博主,两人在一次时尚活动上偶然相遇,Fernando救Katrina于水火之中。。。
A middle-aged underachieving van driver, Jay (Randy Nazarian), is assigned to drive an irascible senior, Harry (Raymond J. Barry), to a new home. Along the way they have a series of misadventures, including being picked up by a troupe of burlesque dancers led by Red (Shondrella Avery) and performing an impromptu comedy act. An enlightening journey that gives both men new perspective on life.
最近城里的屡屡发生珠宝劫案,警察们都束手无策。因为贼人的手法和以前闻名的大盗“黑猫”约翰(加里•格兰特 Cary Grant 饰)如出一辙,警察们找上了正在乡间别墅过着悠闲生活的约翰。约翰当然不会轻易就范,他摆脱了警察之后,开始调查到底是谁用他的手法屡屡作案。毫无头绪的约翰找到了以前的战友巴先生,却被巴先生餐馆里的人视作不速之客。幸好在侍者孚的女儿的帮助下,约翰来到了嘎纳海滩。在保险公司经理的帮助下,约翰展开了他的抓贼行动。
January is forced to return home after six years traveling abroad. A near-fatal accident has left her temporarily wheelchair bound and depleted of her long-term memory. She is accompanied by her boyfriend 'Callum' whom she met whilst traveling. He was also the driver in the fateful accident. Not only has she forgotten her family, but her childhood as well and is surprised to discover that her home is a stately manor in the middle of the country-side. As January tries to settle in, she finds herself becoming even more estranged from her family, who just want their daughter back. The trouble is, she cannot remember who that daughter was, or why she ran away in the first place. Desperate to discover why she left all those years ago and with Callum's help, she sets out to find the truth. They soon discover the family are not as loving as they seem to be. Was there a dark reason why she left them in the first place
康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式,但如今富有的伦敦游客纷纷下山,取代了当地人,当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫,因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅,现在看来,最后一场战斗是和新主人在海边的停车位上展开。然而,情况很快就失控了,而不仅仅是因为车轮夹钳。 Bait是一种黑白,手工制作,16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而,最重要的是,在影像中不同层次的电影历史参考文献之下,当前许多政治关联正在等待被发现。 The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp. Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.