搜索"Bae" ，找到 部影视作品
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在第六季中，戴安与一种似曾相识的不安感作斗争，她感觉自己快要疯掉了，从Roe诉Wade案到投票权，再到冷战局面，一切都在卷土重来。与此同时，律所的律师们想知道，他们所见证的那些暴力事件，是否预示着一场内战即将到来。《傲骨之战 第一季》（The Good Fight Season 1）是于2017年首播的电视剧。该剧由布鲁克·肯尼迪执导，米歇尔·金和罗伯特·金担任编剧。主要演员包括克里斯汀·芭伦斯基、库什·珍宝、露丝·莱斯利、萨拉·斯蒂尔和德尔罗伊·林多等人。《傲骨之战》是《傲骨贤妻》的衍生剧，剧情延续了原剧的故事线。故事围绕着律师黛安·洛克哈特（克里斯汀·芭伦斯基饰演）展开，她在一次公开丑闻后被迫离开原来的律所，并加入了一家新的律师事务所。剧集探索了在法律界中面对的各种挑战，包括政治斗争、权力争夺和道德困境。剧中的角色们追求正义、捍卫真理，并努力在竞争激烈的法律行业中立足。他们面对各种复杂的案件和问题，同时也面对个人生活的挑战。剧集以其深入的剖析和批判性的观点，揭示了当今社会的政治和法律系统中存在的问题和不平。《傲骨之战 第一季》以其精彩的剧本和出色的表演而备受赞誉。克里斯汀·芭伦斯基在剧中展现了坚定和聪明的律师形象，她的演技深受观众喜爱。剧集通过引人入胜的剧情和复杂的角色关系，吸引了观众的关注。
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Syfy宣布续订《扫兴者》第二季，10集。
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居住在法国北部城镇的弗莱迪（David Douche 饰）是一个无所事事的青年，他的母亲靠经营小餐馆为生，母亲的溺爱让弗莱迪根本不去考虑未来。他或者和三五好友骑着摩托车招摇过市，或者和女友玛莉（Marjorie Cottreel 饰）纵情享受与水之欢。在这个平静得近乎无聊的小镇，甚至死亡也无法激起太多涟漪。然而，一些阿拉伯移民却改变了弗莱迪的生活轨迹。张扬倔强的阿拉伯青年卡德（Kader Chaatouf 饰）主动向玛莉搭讪，这引起弗莱迪一伙强烈的不满…… 本片荣获1997年英国电影学院萨瑟兰郡奖、1997年戛纳电影节金相机奖特别提及、1997年芝加哥国际电影节国际影评人费比西奖、1997年欧洲电影节欧洲年度发现、1997年让维果最佳影片奖、1997年圣保罗国际电影节评委会奖。
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《坏家伙们第二季》是《坏家伙们》系列的第二部电视剧，由韩国OCN有线电视台播出的土曜剧。但主演马东锡之前与《坏家伙们2》剧组有所接触，表达了出演意愿，但细节仍在商讨中，因此还尚未确定出演。只有预计2017年夏天在OCN播出《坏家伙们2》，其他关於制作细节和出演人员都还在选角筹画中，还未定案。 [1]此剧是韩剧《坏家伙们》第二季，将在保留第一季世界观的格局下，打造一个全新的故事。以编剧韩正勋前作《坏家伙们》、《38师机动队》中的城市为背景，讲述严惩邪恶势力的坏家伙们酣畅淋漓的故事。在誓元地方检察院，被称为“疯狂检察官”的禹帝文（朴重勋饰）接到检察长李明德（朱进模饰）的调查命令，他召集了一群坏家伙，开始了行动……新任检察官禹宰文从检察长处接到了清除敌人积弊势力的命令，另一边卢晋平每天都收到被刺杀的同事家属的调查催促电话。在与该同事见面时发生了意外事件，知道决定性证据的同事前辈被以残忍的方式杀害。为了寻找幕后主使而去调查时，发生了不可预测的危险……金钱和成功优先于正义的大韩民国。但我们还是希望坏人受到惩罚。一名检察官、一名前黑帮和一名疯狂侦探联手，向既得利益的腐败集团发出令人耳目一新的打击。以恶报恶的终极宣泄，实现新的正义。该剧讲述了一名暴力犯罪侦探和一群坏人聚集犯有暴力犯罪的人并试图铲除更严重邪恶的故事。
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A 12 year old boy with a passion for dance and his brother are rescued from the streets by an old showman who takes them to live with his estranged former dancing partner/brother.
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《战车》讲述了一个负责监督轮回过程的公司和医生（约翰·马尔科维奇饰）和一个年轻人（托马斯·曼饰）在遇到自己所爱的女人（罗莎·萨拉查饰）后成为系统故障的故事。前世。《测试》是一部2022年上映的美国科幻电影，由亚当·西加尔执导和编剧。电影讲述了一个在未来世界中的社会试验，由一个名为“Chariot”的虚拟人工智能系统控制。主要角色是在试验中诞生的一对双胞胎，他们的经历揭示出试验的真相和意图。丝柯·泰勒-考普顿、罗莎·萨拉查、约翰·马尔科维奇、夏恩·韦斯特和托马斯·曼等演员出演。该电影的场景设置在未来的城市中，社会结构由人工智能主导。试验的目的是通过多年的模拟，来评估人类的行为模式，为未来做准备。在这个试验中，一对双胞胎被用来检验系统的可靠性，他们的经历逐渐揭示出试验的真相和意图。电影探讨了人工智能与人类关系、道德伦理以及科技对未来的影响等主题。
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你完全无法估量当自己的恐惧被无限制释放时，它将以什么样的速度来摧毁你的肉体和灵魂。故事发生在逃亡的路上，绑匪与人质被神秘地带入了一段已经废弃已久的公路，而公路周围的树丛中似乎有什么东西正要将他们赶尽杀绝...
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.