| 导演： | 克利斯蒂安·佩措尔德 |
| 主演： | 马修斯·布兰德 萨沙·亚历山大·吉尔萨克 Luise Heyer 更多>> |
| 剧情： |
警长汉斯·冯·茅尔夫斯被叫到了慕尼黑周边的一处奇怪的案发现场：林间空地上两个草草掩盖的墓穴。受害者是当地一家家具作坊的女老板以及她的哈巴狗。死者的前夫——彼得·布劳尔，在第一时间受到了重点调查。自从他离开了公司之后，这个一度繁荣的中产企业便走上了下坡路，而他自己也逐渐潦倒。在职工们眼里，死者并不是特别受欢迎，而她还想把公司变卖给海外的投资者。 这一次与茅尔夫斯合作的经验丰富的同事康斯坦斯·海尔曼，她在个人生活中受过重创，休整之后正试图重回职场。然而案情却进展缓慢：所有可能的嫌疑人都有完美的不在场证明，薄弱的推理在仔细查验后又无法被证实，证据链也显得不够充分。两位警探陷入了怪圈。 |
马修斯·布兰德作品年表（7）
2015
2012
2010
2009
| 导演： | 马雷克·纳伯特 |
| 主演： | Josef Polásek 马修斯·布兰德 Jiří Ornest 更多>> |
| 剧情： | 本片耗资三百万美元，讲述了在被纳粹占领的布拉格发生的故事。为了保护自己的犹太裔妻子汉娜，记者伊米尔加入了播报德国运动的广播电台。随着他在组织中的深入，纳粹的摄政地位在捷克斯洛伐克逐渐展开，伊米尔与自己妻子之间的关系.. |
2008
2007
| 导演： | 克里斯蒂娜·巴哈萨 罗伯特·罗西里尼 |
| 主演： | 马修斯·布兰德 更多>> |
| 剧情： | 每当我看到拉Paura我把这看作一个同伴大开眼戒,或者相反。通奸使这两部电影蜱虫,但以不同的方式。菲利普我认为法语是正确时,他指出了绿野仙踪的库布里克的最后工作。像多萝西,汤姆和妮可经历幻想和噩梦,最后多萝西的可靠的幼稚的座右铭“没有什么地方像家一样”是具有讽刺意味的是更新成人间接格言“没有性生活就像婚姻”。库布里克的知识,他从来没有离开世界的思想接触地面。他辱骂观众第一次与一个情色电影,然后惊悚片,拒绝交付他们中的任何一个。他娶了他的第三任妻子40年,直到他去世。·罗塞里尼还是嫁给了英格丽·褒曼当他直接拉Paura;他们被淫乱的恋人和他们的不忠广受批评La Paura是一个故事,一个黑色的。黑色阴谋是解决了,这个故事有一个快乐的结局。城市是黑色;乡村故事,童年的领土是可能的。转换操作最常规的方法:通过汽车,长期汽车前面的射击,骑到路,如果我们进入一个不同的维度。艾琳开始电影:我们只看到一个黑暗的城市景观,但她的画外音告诉我们她的焦虑和告诉我们,这个故事是一个倒叙,她的。伯格曼是欺骗她的丈夫。内疚只是心理折磨但很快扩展到经济勒索,然后发展成别的东西。从头到尾伯格曼电影关注什么感觉,其他角色可以让她感觉到什么。只有当导演赠送主角之前的情节可以找出他要我们感觉伯格曼仍然不能。当她发现的时候,我们已经经历了扭曲的力学情况和我们可能再次关注情感影响它对伯格曼的艾琳。在洛杉矶Paura叛逆行为不是想象的,而是真实的,噩梦是故意和这对夫妇的毒液化脓的痛苦的方式。不用说,英格丽德的另一个她粗糙的骑在电影里但·罗塞里尼并不敢把她作为他在欧罗巴51岁,他也没有放弃她神秘莫测的大自然的平静。他的礼物那么超然和脆弱的结论在意大利旅行。他只是给了他妻子的一个童话故事的结局是可以有一个真正的女人,一个人文景观,她终于可以有宾至如归的感觉。回到国家,半点燃室内场景阴影显示舒适的睡眠。毕竟,这是“仙女教母”说电影里的最后一句话。Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature . His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie. |
2006
