Set during the years between the "Rebecca" trial and the writing of Du Maurier's short story "The Birds", including her relationship with her husband Frederick 'Boy' Browning, and her largely unrequited infatuations with American publishing tycoon's wife Ellen Doubleday and the actress Gertrude Lawrence

故事发生在1907年，女性虽已能进入大学谋职，但要保住自己的位置继而获得提升仍然十分困难，莉莉．潘雷里克就是其中的一员。莉莉虽在音乐研究领域颇有建树，但她又一次失去了升职的机会。愤怒和失望之下，她决定暂时离开学校，去阿帕拉奇山区看望姐姐埃娜。
来到这片蛮荒之地，莉莉惊讶地发现了一座音乐的宝库：那些优美而古老的苏格兰和爱尔兰民谣，世世代代流传下来，被这偏僻山区保护得相当完整，但同时也导致了它们长期“养在深闺人未识”。身为音乐理论家的莉莉马上意识到了这些民谣的价值，她似乎重新看到了升职的希望。她带着笨重而简陋的录音设备，怀着要对民谣进行搜集整理的梦想进入了最偏远的山区。
开始莉莉只是在功利心的驱使下来做这项庞杂而繁复的工作，她甚至不惜以花言巧语从那些纯朴的当地居民中套取歌曲。但随着与民谣以及山民们接触的日益增多，她逐渐身不由己地被这一切所迷住了，不仅仅是那纯净动人的音乐，还有人们面对贫困而艰苦生活的毅力和忍耐力，他们挑战最恶劣的生存环境的巨大勇气。
在维尼．巴特勒和孤儿德拉迪斯的帮助下，莉莉走进了他们的音乐世界，同时她也卷入了居民们的生活中。但不是每个人都会合作，如当地音乐家，粗犷的汤姆．布雷苏就对她很不客气，甚至充满了敌意。他质问莉莉来此的动机，并指责她是为了一己之私来剥削山民。但当他渐渐体会到莉莉对音乐的激情和进行民谣收集的勇气时，他开始对这个顽强的女人产生了好感。而莉莉也在汤姆的质问下反省了自己的功利心，并为汤姆对家乡的忠诚而感动。不知不觉中两颗心靠近了许多。
当一场巨大的灾难向山区袭来时，莉莉面临着选择：究竟是依旧保持着异乡人的身份搜集民谣，还是加入到这群勇敢坚强、对音乐对生活充满热爱的人们中去呢？
幕后：
本片描写的阿帕拉奇山区被认为是美国音乐的发源地，那里的民谣影响了美国的乡村音乐、布鲁斯音乐等各个门类，直到加斯．布鲁克斯（Garth Brooks）、鲍伯．迪伦（Bob Dylan）还从中吸取了灵感。
导演玛姬．格林沃德是一位活跃在独立制片界的女导演，尽管她还只拍了几部影片，但已经赢得了不错的口碑。她的上一部作品《小乔之歌》（The Ballad of Little Jo）得到了评论界的好评，在那部汇集了鲍伯．霍普金斯（《谁陷害了兔子罗杰》）、伊恩．麦克兰（《指环王》）、海瑟．格拉汉姆（《不羁夜》）等明星的影片中，她以浓郁的女性主义色彩重新定义了西部片，比1999年轰动一时的《男孩不哭》早 6年表现了同类题材。只是她的运气远远没有金斯利．皮尔斯好，这部影片并没有将影响扩展到独立制片界之外，除了得到几个小奖，就基本没了声息。格林沃德也足足有六、七年没拍电影。而关于选择探寻美国音乐根源作为新片的题材，她说：“在做了一些有关早期乡村音乐的研究后，我受到激励来讲述这样一个回溯至其根源的故事，那时甚至还没有唱片工业。我对那些一个世纪以前，还未为世人所知的山区民谣产生了兴趣。我还发现最先把这种音乐带到大众面前的竟然是妇女——教师和传教士们。她们跋涉在山区中，并且首先意识到这种音乐的力量和其中所蕴涵的文化。”
影片赢得了桑丹斯电影节评委会特别奖，表彰其出色的集体演出。实际上早在《小乔之歌》中，格林沃德就显示出她挑选和组织演员的能力，这次也不例外。
女主角莉莉的扮演者珍妮．麦克蒂尔来自英国，1999年凭喜剧片《风滚草》（Tumbleweeds）获得金球奖喜剧音乐类最佳女主角，并和安妮特．贝宁、希拉里．斯万克等人共同角逐奥斯卡影后，《华盛顿邮报》对她在该片中的演技给予极高评价，认为麦克蒂尔已经进入了表演的最高层次，即完全与角色融为一体，她不是在“扮演”，而是在“成为”影片中的人物。从此对她片约邀请如雪片般飞来，除了这部《民谣搜集者》外，麦克蒂尔还参演了著名的DOGMA95 的新作《国王不死》，在东京电影节上获得叫好声一片。
骤听男主角艾丹．奎恩的名字或许有些陌生，但看到他的脸，你就会有似曾相识的感觉。从影多年的艾丹演出过不少广为人知的电影，包括我们十分熟悉的《燃情岁月》、《迈克尔．柯林斯》、《弦动我心》，而他最擅长于扮演敏感、具有知识分子气质的角色。因此对于他来说，这次演出一个粗犷豪放甚至有些野蛮的山地音乐家是个不小的挑战。他用演技证明了证明了自己能胜任任何类型的角色。
影片的另外几位配角也相当出色。而几位音乐家Taj Mahal、Iris Dement等的客串则为影片增加了音乐上的权威性。值得一提的是，片中的十多首歌曲全部由演员们亲自演唱，虽然并非专业水平，但却增添了影片的真实性和自然性。本片的作曲和音乐指导戴维．曼斯菲尔德是格林沃德的丈夫，他的天才使影片成功的关键元素——音乐得到了最精彩的表现。
人们往往认为圣丹斯电影节一般只会提供两类型的影片：塔伦蒂诺式的鲜血和子弹四溢的影片以及同志喜剧片。而这部电影让人们看到了桑丹斯的另一面，宁静质朴又具有奇异色彩的精致电影，这是对那些粗制滥造的独立制片电影的回击。
评论：
这是一部赏心悦目的电影。格林沃德使我们充分体会到了音乐的魅力，她以自己的方式让这些歌曲毫无阻碍地爆发出力量。尽管一些通俗戏剧化元素的加入使得影片有些平庸，但所有情节让位给纯净优美的歌曲的时刻，影片都是极其动人的。较之同样大量运用阿帕拉奇音乐的《逃狱三王》，它更加原汁原味地保留了音乐的艺术性，而不是像《逃》那样完全用在喜剧氛围的营造上。而与《红磨坊》的华丽奢靡，过于注重视觉效果相比，它显得朴实无华，完全致力于集中表现音乐的力量。摄影的优美把山区呈现为伊甸园。
剧中的演员都非常出色，但即使是在整体水平很高的情况下，麦克蒂尔仍然是最突出的。只有在必要的时候她才让莉莉释放出她的激情和力量，其他时候总保持着巨大的张力。她的演出，尤其是与奎恩的对手戏，赋予了影片以核心，而音乐是灵魂。她不仅使那位坚强的女人显得真实可信，而且具有足够的魅力将观众牢牢地钉在他们的座位上。麦克蒂尔的表演超越了影片本身。

凯莉·玛丽·陈(《星球大战8》)加盟伊丽莎白·奥尔森主演Facebook新剧，该剧正式定名为《节哀顺变》(Sorry for Your Loss)，题材为黑色喜剧。讲述年轻寡妇Leigh Gibbs(奥尔森)一边处理失去丈夫的悲痛，一边与过去重新建立关系。玛丽·陈饰演Leigh的妹妹Jules，她是派对上最有趣的女孩，也是最难相处的女孩，随着姐夫去世，她每天都在努力尝试保持清醒，同时摆脱“家中心有余而力不足的灾难”这一角色。

本剧讲述了英国寂静的郊外一名母亲神秘失踪，使得她的孩子们被遗弃在远离家乡的地方。年轻的母亲Leanne带着两个孩子去拜访他们的外公，在穿过高速路买花的瞬间便离奇失踪，而她的两个孩子也随之匿迹于郊外，"Day 1", "Day Three" ,"Day Twenty-Eight" , "Day Thirty-Three" and "Day Seventy-Nine" ，5天揭开离奇悬案。

HBO即將推出的電視劇

Mary Stuart is imprisoned in England - nominally for the murder of her husband Darnley, but actually due to her claim to the throne of England held by Queen Elizabeth I. While Mary's cousin, Elizabeth, hesitates over signing Mary's death sentence, Mary hopes for a reprieve.
After Mary finds out that Mortimer (created by Schiller), the nephew of her custodian, is on her side, she entrusts her life to him. Mortimer is supposed to give Robert Dudley, the Earl of Leicester a letter from Mary, in which she pleads for help. This is a delicate situation, for Leicester seems to support Queen Elizabeth.
After numerous requests, Mary finally gains the opportunity to meet Queen Elizabeth (something that, in reality, never happened). This meeting ends in an acrimonious argument, caused by Mary's unwillingness to submit entirely to Elizabeth's wish. The argument leads to the inevitable suspicion that the cause of reprieve will not succeed.
To complicate matters further, Mortimer plans to free Mary from the prison by force, a dramatized version of the unsuccessful Babington Plot, but when his attempt is found out he commits suicide.
Queen Elizabeth eventually persuades herself to sign Mary's death warrant. Elizabeth insists that her only reason for signing is the pressure from her own people to do so.
The signed warrant is handed to Queen Elizabeth's undersecretary Davison without any clear instructions on what to do with it. In the process, Elizabeth transfers the burden of responsibility to him, fully aware that he in turn will hand over the warrant to Lord Burleigh, and thus confirm Mary's death sentence.
Burleigh demands the signed document from Davison, who - despite his uncertainty - eventually hands it to him. As a result, Burleigh has Mary executed.
The play ends with Elizabeth blaming both Burleigh and Davison for Mary's death (banishing the former from court and having the latter imprisoned in the Tower), Lord Shrewsbury (who pleaded for mercy for Mary throughout the play) resigning his honors and Leicester leaving England for France. Elizabeth is left completely alone as the curtain falls.

Mary Stuart is imprisoned in England - nominally for the murder of her husband Darnley, but actually due to her claim to the throne of England held by Queen Elizabeth I. While Mary's cousin, Elizabeth, hesitates over signing Mary's death sentence, Mary hopes for a reprieve.
After Mary finds out that Mortimer (created by Schiller), the nephew of her custodian, is on her side, she entrusts her life to him. Mortimer is supposed to give Robert Dudley, the Earl of Leicester a letter from Mary, in which she pleads for help. This is a delicate situation, for Leicester seems to support Queen Elizabeth.
After numerous requests, Mary finally gains the opportunity to meet Queen Elizabeth (something that, in reality, never happened). This meeting ends in an acrimonious argument, caused by Mary's unwillingness to submit entirely to Elizabeth's wish. The argument leads to the inevitable suspicion that the cause of reprieve will not succeed.
To complicate matters further, Mortimer plans to free Mary from the prison by force, a dramatized version of the unsuccessful Babington Plot, but when his attempt is found out he commits suicide.
Queen Elizabeth eventually persuades herself to sign Mary's death warrant. Elizabeth insists that her only reason for signing is the pressure from her own people to do so.
The signed warrant is handed to Queen Elizabeth's undersecretary Davison without any clear instructions on what to do with it. In the process, Elizabeth transfers the burden of responsibility to him, fully aware that he in turn will hand over the warrant to Lord Burleigh, and thus confirm Mary's death sentence.
Burleigh demands the signed document from Davison, who - despite his uncertainty - eventually hands it to him. As a result, Burleigh has Mary executed.
The play ends with Elizabeth blaming both Burleigh and Davison for Mary's death (banishing the former from court and having the latter imprisoned in the Tower), Lord Shrewsbury (who pleaded for mercy for Mary throughout the play) resigning his honors and Leicester leaving England for France. Elizabeth is left completely alone as the curtain falls.

Prior to the first act, an induction frames the play as a "kind of history" played in front of a befuddled drunkard named Christopher Sly who is tricked into believing that he is a lord.
In the play performed for Sly, the "Shrew" is Katherina Minola, the eldest daughter of Baptista Minola, a lord in Padua. Katherina's temper is notorious and it is thought no man would ever wish to marry her. On the other hand, two men – Hortensio and Gremio – are eager to marry her younger sister Bianca. However, Baptista has sworn not to allow his younger daughter to marry before Katherina is wed, much to the despair of her suitors, who agree that they will work together to marry off Katherina so that they will be free to compete for Bianca.
The plot becomes more complex when Lucentio, who has recently come to Padua to attend university, sees Bianca and instantly falls in love with her. Lucentio overhears Baptista announce that he is on the lookout for tutors for his daughters, so he has his servant Tranio pretend to be him while he disguises himself as a Latin tutor named Cambio, so that he can woo Bianca behind Baptista's back.
In the meantime, Petruchio arrives in Padua, accompanied by his servant, Grumio. Petruchio tells his old friend Hortensio that he has set out to enjoy life after the death of his father and that his main goal is to wed. Hearing this, Hortensio seizes the opportunity to recruit Petruchio as a suitor for Katherina. He also has Petruchio present to Baptista a music tutor named Litio (Hortensio himself in disguise). Thus, Lucentio and Hortensio, pretending to be the teachers Cambio and Litio, attempt to woo Bianca unbeknownst to her father, and to one another.
Petruchio, to counter Katherina's shrewish nature, woos her with reverse psychology, pretending that every harsh thing she says or does is kind and gentle. Katherina allows herself to become engaged to Petruchio, and they are married in a farcical ceremony during which (amongst other things) he strikes the priest and drinks the communion wine, and then takes her home against her will. Once they are gone, Gremio and Tranio (disguised as Lucentio) formally bid for Bianca, with Tranio easily outbidding Gremio. However, in his zeal to win, he promises much more than the real Lucentio actually possesses, and Baptista determines that once Lucentio's father confirms the dowry, Bianca and Tranio can marry. Tranio thus decides that they will need someone to pretend to be Vincentio, Lucentio's father, at some point in the near future. Elsewhere, as part of their scheme, Tranio persuades Hortensio that Bianca is not worthy of his attentions, thus removing any problems he may cause.
Meanwhile, in Petruchio's house, he begins the "taming" of his new wife. She is refused food and clothing because nothing – according to Petruchio – is good enough for her; he claims perfectly cooked meat is overcooked, a beautiful dress doesn't fit right, and a stylish hat is not fashionable. He also sets about disagreeing with everything she says, and forcing her to agree with everything he says, no matter how absurd; on their way back to Padua to attend Bianca's wedding, she agrees with Petruchio that the sun is the moon, and proclaims that "if you please to call it a rush-candle,/Henceforth I vow it shall be so for me" (4.5.14–15). Along the way, they meet Vincentio who is also on his way to Padua, and Katherina agrees with Petruchio when he declares that Vincentio is a woman and then apologises to Vincentio when Petruchio tells her he is a man.
Meanwhile, back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. The man does so, and Baptista is happy for Bianca to wed Lucentio (actually Tranio in disguise). Bianca then secretly elopes with the real Lucentio. However, Vincentio arrives in Padua, and encounters the Pedant, who claims to be Lucentio's father. Tranio (still disguised as Lucentio) appears, and the Pedant acknowledges him to be his son Lucentio. There is much confusion about identities, and the real Vincentio is set to be arrested when the real Lucentio appears with his newly betrothed Bianca, and reveals all to a bewildered Baptista and Vincentio. Lucentio explains everything that has happened and all is forgiven by the two fathers.
Meanwhile, Hortensio has married a rich widow, and so in the final scene of the play there are three newly married couples at Baptista's banquet; Bianca and Lucentio, the widow and Hortensio, and Katherina and Petruchio. Because of the general opinion that Petruchio is married to a shrew, a quarrel breaks out about whose wife is the most obedient. Petruchio proposes a wager whereby each will send a servant to call for their wives, and whichever comes most obediently will have won the wager for her husband. Katherina is the only one of the three who comes, winning the wager for Petruchio. At the end of the play, after the other two wives have been hauled into the room by Katherina, she gives a speech on the subject of why wives should always obey their husbands and the play ends with Baptista, Hortensio and Lucentio marvelling at how successfully Petruchio has tamed the shrew.

Prior to the first act, an induction frames the play as a "kind of history" played in front of a befuddled drunkard named Christopher Sly who is tricked into believing that he is a lord.
In the play performed for Sly, the "Shrew" is Katherina Minola, the eldest daughter of Baptista Minola, a lord in Padua. Katherina's temper is notorious and it is thought no man would ever wish to marry her. On the other hand, two men – Hortensio and Gremio – are eager to marry her younger sister Bianca. However, Baptista has sworn not to allow his younger daughter to marry before Katherina is wed, much to the despair of her suitors, who agree that they will work together to marry off Katherina so that they will be free to compete for Bianca.
The plot becomes more complex when Lucentio, who has recently come to Padua to attend university, sees Bianca and instantly falls in love with her. Lucentio overhears Baptista announce that he is on the lookout for tutors for his daughters, so he has his servant Tranio pretend to be him while he disguises himself as a Latin tutor named Cambio, so that he can woo Bianca behind Baptista's back.
In the meantime, Petruchio arrives in Padua, accompanied by his servant, Grumio. Petruchio tells his old friend Hortensio that he has set out to enjoy life after the death of his father and that his main goal is to wed. Hearing this, Hortensio seizes the opportunity to recruit Petruchio as a suitor for Katherina. He also has Petruchio present to Baptista a music tutor named Litio (Hortensio himself in disguise). Thus, Lucentio and Hortensio, pretending to be the teachers Cambio and Litio, attempt to woo Bianca unbeknownst to her father, and to one another.
Petruchio, to counter Katherina's shrewish nature, woos her with reverse psychology, pretending that every harsh thing she says or does is kind and gentle. Katherina allows herself to become engaged to Petruchio, and they are married in a farcical ceremony during which (amongst other things) he strikes the priest and drinks the communion wine, and then takes her home against her will. Once they are gone, Gremio and Tranio (disguised as Lucentio) formally bid for Bianca, with Tranio easily outbidding Gremio. However, in his zeal to win, he promises much more than the real Lucentio actually possesses, and Baptista determines that once Lucentio's father confirms the dowry, Bianca and Tranio can marry. Tranio thus decides that they will need someone to pretend to be Vincentio, Lucentio's father, at some point in the near future. Elsewhere, as part of their scheme, Tranio persuades Hortensio that Bianca is not worthy of his attentions, thus removing any problems he may cause.
Meanwhile, in Petruchio's house, he begins the "taming" of his new wife. She is refused food and clothing because nothing – according to Petruchio – is good enough for her; he claims perfectly cooked meat is overcooked, a beautiful dress doesn't fit right, and a stylish hat is not fashionable. He also sets about disagreeing with everything she says, and forcing her to agree with everything he says, no matter how absurd; on their way back to Padua to attend Bianca's wedding, she agrees with Petruchio that the sun is the moon, and proclaims that "if you please to call it a rush-candle,/Henceforth I vow it shall be so for me" (4.5.14–15). Along the way, they meet Vincentio who is also on his way to Padua, and Katherina agrees with Petruchio when he declares that Vincentio is a woman and then apologises to Vincentio when Petruchio tells her he is a man.
Meanwhile, back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. The man does so, and Baptista is happy for Bianca to wed Lucentio (actually Tranio in disguise). Bianca then secretly elopes with the real Lucentio. However, Vincentio arrives in Padua, and encounters the Pedant, who claims to be Lucentio's father. Tranio (still disguised as Lucentio) appears, and the Pedant acknowledges him to be his son Lucentio. There is much confusion about identities, and the real Vincentio is set to be arrested when the real Lucentio appears with his newly betrothed Bianca, and reveals all to a bewildered Baptista and Vincentio. Lucentio explains everything that has happened and all is forgiven by the two fathers.
Meanwhile, Hortensio has married a rich widow, and so in the final scene of the play there are three newly married couples at Baptista's banquet; Bianca and Lucentio, the widow and Hortensio, and Katherina and Petruchio. Because of the general opinion that Petruchio is married to a shrew, a quarrel breaks out about whose wife is the most obedient. Petruchio proposes a wager whereby each will send a servant to call for their wives, and whichever comes most obediently will have won the wager for her husband. Katherina is the only one of the three who comes, winning the wager for Petruchio. At the end of the play, after the other two wives have been hauled into the room by Katherina, she gives a speech on the subject of why wives should always obey their husbands and the play ends with Baptista, Hortensio and Lucentio marvelling at how successfully Petruchio has tamed the shrew.

Les liaisons dangereuses is a play by Christopher Hampton adapted from the 1782 novel of the same title by Pierre Choderlos de Laclos. The plot focuses on the Marquise de Merteuil and the Vicomte de Valmont, rivals who use sex as a weapon of humiliation and degradation, all the while enjoying their cruel games. Their targets are the virtuous (and married) Madame de Tourvel and Cécile de Volanges, a young girl who has fallen in love with her music tutor, the Chevalier Danceny. In order to gain their trust, Merteuil and Valmont pretend to help the secret lovers so they can use them later in their own treacherous schemes.

In a house of glass, one must not throw stones.

After years of fierce focus on her political career, Phaedra turns her attention to her personal life.

The reappearance of her step-son shakes the foundations of her house and the beliefs that have underpinned her power.

As buried lust and loneliness surge to the surface, Phaedra’s actions threaten to destroy everything she has built.

What happens to a dream when the dreamer is gone? PAINT IT BLACK is the story of the aftermath of Michael's death, and Josie's struggle to hold onto the true world he shared with her. As Josie searches for the key to understanding his death, she finds herself both repelled and attracted to Michael's pianist mother, Meredith, who holds Josie responsible for her son's torment. Soon, the two women find themselves drawn into a twisted relationship reflecting equal parts distrust and blind need.
Written by Amber Tamblyn

2022 film

影片改编自简·奥斯丁于1811年出版的首部同名小说。 故事发生18世纪末英国乡村，讲述了一对姐妹花曲折的择偶经历。生于乡绅家庭的长姐埃莉诺（哈蒂·莫拉汉 Hattie Morahan 饰）沉稳理智，二姐玛丽安（查丽蒂·维克菲尔德 Charity Wakefield 饰）活泼浪漫，两人对爱情有着迥异的看法。父亲过世后，被狠心兄嫂赶出庄园的母女四人安顿在一座海边农舍，姐妹俩亦在这里迎来了数位追求者。 内敛的埃莉诺默默倾心于长嫂的弟弟爱德华（丹·史蒂文斯 Dan Stevens 饰），却因顾虑双方悬殊的地位始终克制情感。某日爱德华的未婚妻露西突然出现，更令得知真相的她黯然神伤。另一边，率真的玛丽安很快与花花公子威洛比坠入了情网，对成熟的布兰登上校（大卫·莫瑞瑟 David Morrissey 饰）不屑一顾。当梦想的爱情彻底破灭后，绝望的她几欲无法面对现实……历经等待与伤痛，这对迥异的姐妹花能否收获到属于各自的爱情果实？

　　根据Philippa Gregory畅销小说改编，讲述英国著名的“玫瑰战争”期间，三个卷入冲突之中的女人的故事。剧集将从1464年开始，约克家族和兰开斯特家族为争夺王位已经开战九年。伊丽莎白·伍德维尔、玛格丽特·博福特和安妮·内维尔是三位女性主角。她们卷入了这场权力的争夺，并将在幕后操纵历史的轨迹。

奥林匹斯山诸神不和，无所不能的宙斯变得疑神疑鬼，而三名凡人注定要肩负起重塑人类未来的使命。

A modern day contemporary retelling of Greek mythology.

A modern day contemporary retelling of Greek mythology.

A modern day contemporary retelling of Greek mythology.