格里菲斯：电影之父

In this acclaimed three-part documentary, celebrated film historians Kevin Brownlow and David Gill (UNKNOWN CHAPLIN; BUSTER KEATON: A HARD ACT TO FOLLOW) tell the proud, sad story of D.W. Griffith (1875-1948): the man who first brought artistry and ambition to the movies, and then, having dragged a reluctant American film industry to international prominence, found it had no more use for him. Judiciously chosen film clips illustrate exactly how, within seven years of going to work for the Biograph Studios in 1908, Griffith painstakingly refined camera and acting techniques; how trial and error led him to create a grammar that was the cinema’s own; and how, in 1915, he presented the fully-fledged film masterwork THE BIRTH OF A NATION. Griffith strove to outdo himself in skill, spectacle and soaring ambition, and Brownlow and Gill illuminate the successes that highlighted his career: INTOLERANCE, BROKEN BLOSSOMS, WAY DOWN EAST and ORPHANS OF THE STORM. A wealth of background detail is provided by vivid accounts of Griffith at work (from Lillian Gish, Blanche Sweet, Karl Brown, Stanley Cortez, among others), and by a comprehensive account of the great controversy sparked by THE BIRTH OF A NATION.

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这部影片通过讲述多杰和格桑与奶奶在青海高原藏区的生活，展现了家庭的力量以及亲情的重要性。故事中，多杰和姐姐渴望获得父亲的爱，但父亲却因为工作或其他原因无法回家。影片通过小黑颈鹤的受伤事件，让姐弟俩决定骑摩托车送它前往云南越冬地，展现了他们的善良与勇敢。在送小黑颈鹤的过程中，多杰和姐姐不仅体验到了自然美景，还深刻地感受到了亲情的重要性。

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曹保平一向创作涉案题材，表面风格粗粝但是对人性的挖掘和刻画又极为细腻（非常打脸太多表面功夫无所不用其极、但人物和内核乏善可陈的巨制电影）。看了本片释出的各种宣传，尽是往复仇爽片的路子上引，包括看故事简介还以为是映射江歌案（实际本片借鉴的小说出版时间早于江歌案的发生时间）——但是我就想?️，以曹导的水平和偏好，不可能只是拍一个复仇爽片那么简单。所以我第一个猜想的方向是类似于《三块广告牌》那种主题。但是实在想不出江歌案这个事情能挖掘什么深层次的主题。因此很期待曹导的创作

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电影该剧中的李志行是一个值得敬佩的警察形象。他为了维护社会的安宁，不惜冒着生命危险，派遣卧底探员潜入贩毒组织，将毒首韩洋绳之以法。李志行的扮演者用他的精湛演技，将这个角色的坚定、勇敢和智慧展现得淋漓尽致。

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该剧以一种神秘而紧迫的方式，呈现了戏鼓船的沉没与亡魂的发现。随着馒头在船上寻找线索，我们逐渐了解到大龙湾的暗流涌动与父亲的秘密原来都与这艘船有着不解之缘。这部剧中，我们可以看到一种“寻找”的精神，即努力寻找答案，解开谜团。