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类型：电视剧
主演：海莉·斯奎尔斯 菲尔·丹尼尔斯 约瑟夫·戴浦西 鲁伯特·艾弗雷特 凯丽
导演：道恩·沙德福思
语言：
年代：未知
简介：聚焦色情片产业的Channel4英剧《AdultMaterial》确定主演阵容：HayleySquires(《我是布莱克》)、鲁伯特·艾弗雷特(《我最好朋友的婚礼》)、SienaKelly(《名利场》)、KerryGodliman(《后半生》)、JoeDempsie(《权力的游戏》)、朱利安·欧文登(《唐顿庄园》)、PhilDaniels(《四重人格》)。该剧从一个女性的视角来看英国当代色情片产业，Squires饰演顶级色情片演员、三个孩子的母亲JoleneDollar，她见证了这个产业从非法的边缘活动走进主流，成为通讯业的高利润支流。Kelly饰演该行业的新手演员Amy，她比Jolene的大女儿大不了几岁，这两个女性的关系是该剧焦点。艾弗雷特饰演Jolene的长期好友、制片人、商人CarrollQuinn，Dempsie饰演Jolene的长期搭档Rich，欧文登饰演美国色情业大亨TomPain，Godliman饰演StellaMaitland议员，她与Jolene建立起了让人意想不到的友情。LucyKirkwood(《烟幕重重》《皮囊》)编剧，共4集。
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类型：电视剧
主演：罗宾·怀特 Kati Marton Kate Andersen Bro
导演：未知
语言：英语
年代：未知
简介：Showtime将推出剧集《第一夫人们》，聚焦多名美国总统夫人。维奥拉·戴维斯(《逍遥法外》《相助》)饰米歇尔·奥巴马，第一季主角有她和安娜·埃莉诺·罗斯福、贝蒂·福特，剧集“关注白宫的东翼，迷人、复杂和有干劲的美国第一夫人们在那里做出了重要的历史决定”。作家AaronCooley编剧并任执行制作人。
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类型：电视剧
主演：MP Cunningham Baby Darrington Jer J
语言：英语
年代：未知
简介：MPCunninghamandJeremyJackson’snewscriptedcomedyAguaDonkeyshaslandedatQuibiandwillbereleasedthisspring.Inspiredbytheshortfilmofthesamename,AguaDonkeyswillbeproducedbyFunnyorDieandnd3ArtsEntertainment.Inthenewserieswhereit’salwayssummer,MP(Cunningham)andJer(Jackson)areemployeesatapoolcleaningcompanycalledAguaDonkeys.Theduochasingtheperfecttan,theperfectvibeandtheperfectmixofbromineandchlorinetoservicesomeofthe“sickest”backyardpoolsintheirUtahhometown.TheseriesalsofeaturesBabyDarrington,whoplaystheirco-workerandmutualcrushaswellasLukeJackson,whoplaystheownerofthetitularpoolcompany.
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类型：电影
主演：Susana Alexander 路易斯·艾瑞艾塔 Enrique B
语言：西班牙
年代：未知
简介：奶奶决定交代后事的时候到了，但整个家族为了谁能继承她的房子而针锋相对。
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类型：电影
主演：Heinrich Hargesheimer Carlheinz Har
语言：其它
年代：未知
简介：The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
