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泡芙小姐第七季
大陆国语2016
泡芙小姐第七季是由极夜篇和白昼篇两部分组成12个独立的小故事,白昼篇延续泡芙以往对爱的表达,重新回到爱的轨道,无论是现实还是幻想,爱都存在在每个人的心底,人们通过爱穿梭在现实与幻想之间,爱是七秒钟的幻想。《泡芙小姐》系列剧每一集都是由一个独立的小故事构成,该短片每集11分钟,共104集,分为8季。例如《泡芙小姐的沙漏》、《泡芙小姐的钥匙》等借物喻人的主题来源于现实生活的故事情节,它们吸引眼球并饱含深意,该剧引入了美剧的制作和播出模式,拍摄、制作、播出、营销等环节同步进行,并根据网友的反馈实时调整剧情走向,全互动的节目形态备受瞩目,预告片刚上线播出就得到数十万网友的追捧。有这样一种病,当你太在乎你的爱人的时候,你会忘记他。其实,在这个城市里的许多人都和泡芙一样,在占有和自由之间,寻找着真爱。影片的主角泡芙小姐是一位生活在大都市里,像你我一样孤独而正常的普通人。她喜欢养金鱼,喜欢踽踽独行,直到有一天,她遇见了生命中注定在等待的那一位……地铁、车站、马路,到处有他们缠绵的身影,到处是他们无可救药的温柔。可是,正如这城市里大部分短暂的爱情故事一样,他们之间的脆弱和波折,重复一一上演。孤独的人是可耻的,金鱼缸里真的无法存活两条金鱼么?《泡芙小姐的金鱼缸》,让我们拭目以待……

羞羞影院

丹麦小村教堂
其它其它1947
The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.  Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.  The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.  In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.  On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.  Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.  The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.

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