出生证明

出生证明

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  In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."
  The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.
  The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.
  The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.
  At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?
  Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."
  After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.
  In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."

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2019 惊悚片 美国 美国
吉第安·艾朵,赛米·汉拉缇,伊莉莎白·哈诺伊斯,安吉里卡·希拉娅,埃丽卡·阿什,辛西娅·卡蒙娜,Megan,McGown,盖尔·比恩,杰伊·赫农,Nick,Gracer,Stefanée,Martin,Iyana,Halley,克里斯蒂安·蒙松
Abducted off the sidewalk of suburban America, fifteen year old Dani finds herself submerged in the
英语
2024 爱情片 西班牙 西班牙
妮可·华莱士 , 加布里埃尔·格瓦拉 , 艾娃·鲁伊斯 , 维克托·瓦罗纳 Víctor Varona , 玛塔·哈扎斯 Marta Hazas
When Noah fell in love with Nick, she knew their relationship would never be easy. They're fire and electricity, and when they're together, every kind of sparks fly. After last summer, Noah thought their passion had grown stronger than t
西班牙语
2019 科幻片 美国 美国
詹姆士格兰恩德斯,黛拉格·坎贝尔,丹尼尔·法瑟斯,阿莱克斯·伍兹,卡罗琳·雷诺,Konima,Parkinson-Jones,Greg,Ellwand,Sofie,Holland,Justin,James,Remeikis,Ayesha,Mansur,Gonsalves,Stephane,Paquette,泰勒·索恩,约翰·诺瓦克,Kelly,Lee,Lamb,Axel,Green,Hannah,Galway,莎拉·阿姆斯特朗,Tammy-lynn,Wilcox,Caleb,Marshall,Mia,Re
五个人突然醒来,他们发现自己在一艘外星人的母船上。他们发现自己的情感波动会影响到这艘船的动力。他们意识到原来外星人已经绑架人类的历史已经数百年之久了。他们决定秘密脱困,并和外界的美军士兵取得联系逃出生
英语
2019 恐怖片 中国香港 中国香港
惠英红,陈家乐,岑日珈,夏嫣,曹佑宁,黄瀞怡,麦家瑜,袁祥仁,潘绍聪
舊生何梓峯(曹佑寧 飾)帶著四位大學同學來到即將要被殺校的母校德肓書院懷念一翻。該學府曾被日軍佔領為軍用實驗室,歷年也流傳著許多可怕的靈異事件。 羅校長(袁祥仁 飾)和方老師(小薰飾)分別帶著他們在校
粤语
2020 记录片 中国大陆 中国大陆
马虎,梁正双,张锦新,孙岭峰,郭忠健
一群来自全国各地的困境少年,被选进北京市郊一个爱心棒球基地,组成了一支特殊的棒球队,跟着70岁传奇教练“师爷”从零开始学习打棒球。 少年马虎以“刺头”状态闯进了基地,天天打架干仗;而“元老球员”小双心
普通话
2018 动作片 美国 美国
詹妮弗·加纳,小约翰·加拉赫,杰夫·赫普内尔,约翰·奥提兹,胡安·巴勃罗·拉瓦,安妮·伊隆泽,凯莱·弗莱明,埃迪·辛,马索·曼恩,泰森·里特,伊恩·卡塞尔伯里,理查德·卡夫拉尔,约翰尼·奥蒂斯,拉桑德拉·吉布森,古斯塔夫·奇洛兹,阿什莉·吉普森,迈克尔·雷本塔尔,艾琳·卡鲁菲,贝尔·詹姆斯,妮拉·伊丽莎白·沃特金斯
故事聚焦在一位母亲的身上。一次在外游玩的过程中,她的孩子和丈夫被黑帮悉数杀害。原本遵纪守法的她希望借助于法律的力量制裁这些罪犯,但整个城市的警察和司法系统已经完全腐败。最后,这位失去一切的母亲,只好自
英语
2016 喜剧片 香港 香港
王诗龄,吴镇宇,杨千嬅,詹瑞文
小公主宝儿(王诗龄 饰)在家中不幸遭遇了一波劫匪的袭击...... 劫匪的头领不是别人,正是她父亲的孪生兄弟金大虎。此人为遗产纷争而来,不想却被手下算计,盗窃计划演变为绑架侄女,大虎后悔不已,而真正
汉语普通话
2019 剧情片 美国 美国
卢卡斯·赫奇斯,麦卡·梦露,诺亚·尤佩,桑德拉·罗斯科,格雷厄姆·克拉克,小克利夫顿·克林斯,马丁·斯塔尔,娜塔莎·雷昂,格蕾塔·荣格,劳拉·圣吉亚科莫,本杰明·马卡比,希亚·拉博夫,克雷格·斯塔克,路德维格·曼努基连,金斯顿·凡尔内斯,布莱恩·纳什,拜伦·鲍尔斯,小枝女孩,马里奥·庞塞,海莉·桑切斯,乔凡尼·洛佩斯,多里安·布朗,莱娜·查韦斯,鲍莉娜·布格姆布,查拉·萨维诺,阿尔·伯克
12岁的Otis是一名在好莱坞冉冉升起的电视新星。当他的事业开始风生水起时,他曾扮过马戏小丑的父亲回到他身边,成为他的监护人。在片场之外的时间里,Otis与他的父亲一起住在一家位于城市边缘的汽车旅馆,
英语
2022 喜剧片 中国大陆 中国大陆
江奇霖
影片讲述了三秒(江奇霖 饰)和他的三个发小,在众人眼里,是到了三十岁“而立之年”一事无成的待业青年,经营着一间濒临倒闭的歌舞厅艰难度日。然而歌舞厅因经营不善导致资金缺乏难以运维下去,于是四个人为了实现
汉语普通话
2021 喜剧片 中国大陆 中国大陆
宋晓峰,李奎,唐鉴军,庞奕欣
保安林霄峰和他的两兄弟因为太爱管闲事被千山景区保安队开除,沮丧之际他们接受到了一项特殊的任务,保护珍宝馆一个价值连城的古董花瓶,没料想在一场反窃演习中招来了真贼,花瓶被盗,三人为了找回花瓶脑洞大开,啼
汉语普通话
2019 剧情片 中国大陆 中国大陆
周迅,吴镇宇,祖峰,孙睿,寇家瑞,王天辰,厉娜,李媛,温心
电影《保持沉默》讲述了著名歌星万文芳在密闭的化妆间遇刺,当时在场的只有吉米托马斯(孙睿饰)一个人。端木兰律师(周迅饰)作为吉米的辩护律师,准备为他做无罪辩护,因而在法庭上与该案的检控官吴正为(吴镇宇饰
汉语普通话
2019 剧情片 美国 美国
西奥·罗西,波特·杨,威廉·弗西斯,阿德里安·M·蒙波因特,萨米拉·威利,克莱夫·斯坦登,查兹·帕尔明特瑞,唐·约翰逊,查克·齐托,维森特·帕斯托雷,艾瑞克·卢茨,安东尼奥·库普,乔伊·安布罗西尼,尼克·普林西比,史蒂文·韦斯
讲述了1975年一群小时候犯罪分子试图在美国历史上实现最大抢劫的故事。从罗德岛州最小的州黑手党那里偷走了3000多万美元......
英语
2022 动作片 美国 美国
布鲁斯·威利斯,查德·迈克尔·墨瑞,杰西·麦特卡尔菲
英语
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