Four best friends take their book club to Italy for the fun girls' trip they never had. When things go off the rails and secrets are revealed, their relaxing vacation turns into a once-in-a-lifetime cross-country adventure.

2023 film directed by Kyle Marvin

魔法王国的苏菲亚公主一直把随身戴着的项链当做自己的护身符，某一天她突然得知，这个护身符里居然封印着一个等待重获自由的公主。邪恶女巫史瑞奇入侵了阿瓦洛王国，杀死了国王和王后。阿瓦洛的法师为了保护年轻的艾莲娜公主，便把她封印进了护身符中。而这个护身符几经辗转，来到了苏菲亚的手中。为了解救艾莲娜和阿瓦洛的百姓，人小胆大的苏菲亚公主踏上了一场冒险之旅。

American comedy-drama web television series

2022 film directed by Paul Weitz

“Netflix？真搞笑！”喜剧节亮点集锦：顶尖单口喜剧演员和喜剧新星笑谈性、育儿、政治和小气等话题。

Broadway: Beyond the Golden Age is the sequel to the feature film documentary Broadway: The Golden Age, which documented American theater in the 30s, 40s and 50s. This second installment of director Rick McKay's Broadway film trilogy continues the story from the legendary Broadway season of 1959 (Gypsy, Raisin in the Sun, Once Upon a Mattress, etc.) through the tumultuous 60s (Hair, Oh, Calcutta, etc.), the revolutionary 70s (Sondheim, A Chorus Line, Chicago, etc.), up to the opening night of David Merrick and Gower Champion's 42nd Street in 1980. Once again, McKay tells the story with in depth, candid, personal interviews with over 100 newly filmed, legendary stars, while incorporating never before seen footage of the original productions, as well as home movies and photos from the stars' own personal collections, bringing to life a lost era in American history. Many of the stars of the film went on to become household names from their subsequent fame in film and television, and talk of the differences in the mediums and how the theater gave them the foundation for their success in front of the camera.

Let The Conversation begin…Lifetime's all-new series "The Conversation with Amanda de Cadenet," a refreshing and intimate take on celebrity interviews hosted by British television personality and renowned photographer Amanda de Cadenet and executive produced by Demi Moore and de Cadenet, will premiere on Thursday, April 26 at 11/10c. The hour-long program created by de Cadenet marks her U.S. television debut.
Presenting an honest, authentic and raw view of the shared issues affecting women today, each episode of "The Conversation with Amanda de Cadenet" will feature de Cadenet having powerful and in-depth interviews with some of the world’s most famous and influential women, including, among others, Jane Fonda, Lady Gaga, Gwyneth Paltrow, Miley Cyrus, Eva Longoria, Kelly Preston, Alicia Keys, New York Senator Kirsten Gillibrand, Donna Karan, Ivanka Trump, Olivia Wilde and Gabby Sidibe. Together with de Cadenet in the comfort of her or their own homes, they -- many for the first time publicly -- will tackle a wide variety of topics universal to all females, including sexuality, body image, career and finances, relationships, love and loss, politics, human rights, transformation, breakthrough and perseverance. "The Conversation with Amanda de Cadenet" will also feature “Women on the Street” segments in which women from all walks of life also reveal their personal feelings about their lives and the world today.

Jane Fonda and Lily Tomlin host an iconic celebration of women in comedy with stand-up sets from Cristela Alonzo, Margaret Cho, Michelle Buteau and more.

Eileen is 22 and is smarting from her breakup with Russ. She comes to New York to visit her brother, Adam, who is an airline pilot. Eileen confides to her brother that she thinks she may be the only 22 year old virgin left in the world. Adam assures her that sex is not what all men look for and insists he hasn't slept around. Of course, Adam is lying and is in hot pursuit of a tryst with his occasional girlfriend Mona. However, Adam's date with Mona has a series of job related interruptions. Meanwhile, Eileen decides to see if she can have some fun for herself in New York, and seems to find the perfect candidate in Mike, a man she meets on the bus. But things get complicated when Russ pops in with a proposal and a mistaken assumption. Written by Wendy Scheinberg

In the #MeToo era, Hollywood is portrayed as a toxic environment that uses various forms of coercion to get actresses to strip on camera. In her interview series with Jane Fonda and other stars, Kristy Guevara-Flanagan gives women an active role. She gives them a face, a voice, and the feelings that were denied them. Through a wealth of archival material, it also explores the forms of representation of the female body in the American film industry. We follow the work of sex choreographers and coaches who master the techniques of simulating a sexual act or creating the illusion of intimacy during filming. Women are both victims and co-creators of an environment that fetishizes their bodies and turns them into erotic objects.

2022 film directed by Peggy Holmes

根据易卜生戏剧《玩偶之家》改编。

Between 1970 and 1979, the films of Hal Ashby collected seven Academy Awards and 24 Academy Award nominations. He was a major player in the so called "New Hollywood" era of the '70s, and his strident rebelliousness in the face of the Hollywood studio system set the course for an utterly original body of work. But as that era came to a close, Ashby's star faded. The '80s were to usher in a corporate era of filmmaking, and Ashby's story became a cautionary tale. ONCE I WAS: The Hal Ashby Story is a feature length documentary film that will examine the life and work of director Hal Ashby within the changing landscape of American Cinema.

lberto Grifi and Massimo Sarchielli’s Anna (1972-1975) is a startling documentary that takes upon itself to tell the story of a 16 year-old pregnant transient Roman but quickly, awkwardly and organically morphs into something else.
The film begins with the filmmakers trying to re-enact scenes of their initial contact with the eponymous girl, but soon we see the process of their direction, with shots beginning or ending with direction from Sarchielli as to what Anna should or or say in the scene. Sarchielli himself appears on screen as much as Anna because he volunteers to take the homeless girl into his house, where she can be cared for...and filmed.
This action is at the core of the film, because it is at once an action of compassion and one of artistic opportunism - the latter implied throughout but revealed in a a Chronicle of a Summer-like discussion on the filmmaking motives at the film’s end. Between these, the core of the film is made up of long sequences and long takes (which the nearly four-hour film is predominantly made up of)... of Anna moping around Massimo’s house and interacting with him as he helps her shower, kick drugs, keep up her spirits and live a day to day life. This life is small, cosy and intimate, formed from and around this beautiful but perennially doped-looking girl either vacantly grinning or exhaustedly pouting, in either case looking like she’s already experienced three lifetimes and conjuring images from the video-to-film (and back to video for the restoration) texture of the work that could belong in Renaissance portraiture.
This home scenes are shockingly contrasted with the filmmakers taking the issue of Anna and their compassionate gesture "to the streets," that is, to the square in Rome where they found her and which clearly seems to be a hangout for hippies, transients, the unemployed, and others (towards the end of the film it even features a feminist rally that turns violent). Discussions about Anna’s situation with these groups of pontificators, layabouts, street philosophers, occasional bourgeoisie and bums usually derails to other subjects, painting a bleak, angry, stultified, passive and confused pictures of the early 70s Western European social climate, with disenfranchised - yet entitled-seeming youths filling the screen with passionate but often incoherent and rambling rants and opinionating.
This side of the video-film conjures a highly specific, ramshackle context for the world Anna was found in and plucked from, with the circus of cafe-heads replaced by the claustrophobic warmth of the filmmaker’s apartment and the creepy attentiveness with which he tries to nurse her back to physical, mental and social health. It is a tiny fraction of a human’s life story shot on even smaller terms because of the intimacy of the filmmakers using one of Italy’s first video recorders (Grifi then, uniquely, custom built a device to photograph his video edit on 16mm, which is what was restored). Yet, due to the length of the takes, the dedication to playing scenes out for their fullest nuances and interactions (often lasting over 30 minutes), and ping-ponging between, essentially, the street and the bedroom, Anna becomes a grand, epic, complicatedly limited picture of a single person in her time and space, and wrapping (and indicting), with confident paradoxes, cinema up in the whole thing. (MUBI Article)

As a teenager growing up with dreams about making it as a writer or an actor in Hollywood or on Broadway, I was obsessed with the 1940’s and 50’s when everything seemed so much more magical, powerful and most of natural.
My fascination with James Dean eventually brought Montgomery Clift to my attention and during those pre-internet years I devoured every little bit of information on him I could find and it still wasn’t enough.
Although he starred in only 17 films during his short life, they were incredibly hard to find and I mostly had to rely on them being broadcast on television to record them onto VHS. I still have them, minus the ones I never caught or simply weren’t shown during that time, like Freud: The Secret Passion (1966), The Defector (1962) and Lonelyhearts (1958).
Biographies were also difficult to track down, including those by Patricia Bosworth, Robert La Guardia and Barney Hoskins. Yet one day, while browsing the documentary shelves at the Buy, Sell & Exchange in Camden, I spotted a VHS tape and literally had to rub my eyes not once, but twice, just to check I was seeing right. It was a feature length documentary on my idol, Montgomery Clift, for £1.
Written and directed by Claudio Masenza, who had previously documented the lives of Brando and Dean, and featuring an impressive interview cast, this was an incredible find. As Masenza retraces Clift’s life, from his toddler years, through to his Hollywood years beginning with The Search (1947) and ending with The Defector (1966), we get some very rare insights into the life of this enigmatic actor with previously unseen home footage shot by family, friends and Clift himself.
What we also learn about him is that he was something of a daredevil, a kind soul and a sensitive man, one who couldn’t bear the thought of others suffering. We also hear from his friends how his personality would change at the blink of an eye, either when he drank or when the mood would hit him.
The documentary dwells heavily on this side of him, as most biographies on Clift do. As someone who has looked up to him for so long, it saddens me to hear his life told with such tragic tales, as if he was born destined for loneliness and suffering. This is why the home footage struck me as so amazing; here he is smiling, laughing, fooling around and enjoying himself. This is the Clift I like to think of.
It’s a great documentary for anyone who is a fan of this remarkable and talented actor. It offers a truly extraordinary glimpse into what he was like with his friends and he looks extraordinarily handsome in the home footage. Good luck in finding it though, it has never been available on DVD and the VHS has become a rare find, although you might still find the odd copy at Amazon.

Rebellious, uncontrollable teenager, Rachel is hauled off by her dysfunctional mother to spend the summer with her estranged grandmother, Georgia. Her journey will lead all three women to revelations of buried family secrets and an understanding that - regardless what happens - the ties that bind can never be broken.

Season 44，Episode 21

The misadventures of four groups of guests at the Beverly Hills Hotel.