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備注：已完結(jié)
類型：歐美劇
導(dǎo)演：愛德華·巴瑟杰特
語言：英語
年代：未知
簡介：The plot revolves around British aristocratic detective Inspector Thomas Lynley and his working-class partner, Sergeant Barbara Havers, as they solve crimes interwoven with social issues. As the 8th Earl of Asherton, Lynley is from the highest aristocratic order of Britain outside the royal family, while Havers is a perceptive woman who cannot boast a rich heritage. The divide in their social status often makes for interesting conversations and differing perspectives that explore the themes of class and gender.
備注：已完結(jié)
類型：動畫片
主演：伊萬·麥克格雷格 裴淳華 理查德·E·格蘭特 蒂莫西·斯波
導(dǎo)演：愛德華·麥克亨利
語言：英語
年代：未知
簡介：一個一事無成的農(nóng)民，在國家存亡的關(guān)鍵時刻挺身而出，他要以一己之力保衛(wèi)家國。不過暈乎乎的他能成么？ ·影片的導(dǎo)演愛德華·麥克亨利和羅里·麥克亨利是兄弟倆。這是他們第一次拍攝動畫長片。 ·麥克亨利家族的父親，大衛(wèi)·麥克亨利是影片的美術(shù)設(shè)計，他曾經(jīng)是影片《成為簡·奧斯汀》的美術(shù)設(shè)計。 ·本片的靈感來源是兄弟倆之前制作的一部動畫短片，那部短片講述了一個發(fā)生在越戰(zhàn)期間的故事。 ·兄弟倆以某些演員為原型創(chuàng)作了劇本。 ·本片被稱作英國版的《美國戰(zhàn)隊》。
備注：已完結(jié)
類型：劇情片
主演：拉多萬·盧卡夫斯基 古斯塔夫·瓦拉赫 艾米麗婭·瓦薩約娃 威廉·波洛尼
導(dǎo)演：愛德華·格萊納
語言：其它
年代：未知
簡介：與Stefan Uher和Elo Havatta一樣，Eduard Grecner也是60年代斯洛伐克新浪潮電影的締造者之一。他的三部影片《一周七天》（1964）《尼絨月亮》（1965）和這部《徳拉克的回歸》都是斯洛伐克新浪潮電影的代表作。這部敘事方法獨特帶有明顯意識流風(fēng)格的黑白影片甚至間接影響到了后來法國導(dǎo)演格里耶在捷克拍攝的兩部影片《說謊的人》和《Eden and After》。 A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called intellectual film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak Muz, ktory luze; French title L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
