subversion法國電影

❶ 一隻大兔子有關的電影

2011年國產3D動畫《兔俠傳奇》；《兔俠傳奇》是一部90分鍾全3D的動畫片，形象取材於明代至今，是京津地區的最有神化色彩的兒童玩偶兔兒爺。「兔俠」形象具有濃郁的中國味道，造型滑稽喜興，有著新鮮的動畫形象感。《兔俠傳奇》講述的是一個信守並履行承諾的故事。著名編劇鄒靜之賦予傳統的「兔兒爺」以全新的內涵，使其成為真正的「兔俠」。影片將於2011年7月正式上映。

❷ 韓國電影魔女會不會出第2嗎

截止2020年2月官方沒有公布出韓國電影《魔女》第2的信息。

《魔女》是朴勛政執導的科幻動作電影，由金多美、趙敏秀、朴熙順、崔宇植主演，於2018年6月27日在韓國上映。該片講述了在某次造成大量死亡的事件發生後，唯一的倖存者被一對夫婦收養並取名「子允」，多年後子允與知曉事件真相的人們相遇從而引起一系列殺戮的故事。

(2)subversion法國電影擴展閱讀：

角色介紹

1、具子允演員： 金多美

在10年前一場大型死亡事故中倖存的少女，身世撲朔迷離。被善良的老夫婦收養後成長為健康的女高中生。外表看似柔弱，實際武力和智力都是頂尖的，而且擁有控制物體飄浮的能力。

2、貴公子演員： 崔宇植

在子允去參加選秀節目的途中突然出現在她面前的神秘男子。盡管子允稱不認識他，他卻堅持他們之間不但相識而且有千絲萬縷的聯系。從此以後他就一直徘徊在子允周圍。

❸ 請問這是什麼電影名

《魔女》（마녀）（The Witch : Part 1. The Subversion）

導演:朴勛政。編劇:朴勛政
主演:金多美/趙敏修/朴熙順/崔宇植/高敏詩/

該電影講述了10年前在一起奇怪的事故中獨自生還的失憶少女子允，在一對老夫婦的撫養下長大。為了貼補家用，子允參加了某檔電視節目，但讓她沒想到的是，就在節目播出後，開始有各種奇怪的人出現在她面前……

❹ 之前在家樂福看到在放的一部動畫片，裡面有一個巨肥巨強壯的兔子，還有很肥很圓的飛鼠，有沒有人知道

片名叫Big Buck Bunny
這是這個片子的網路http://ke..com/view/1845878.htm

❺ 這個是什麼動畫片

大雄兔

大雄兔（Big Buck Bunny）是Blender基金會第2部開放版權、創用CC的動畫電影，代號Peach。片長10分鍾，Big Buck Bunny全部使用開放原始碼軟體製作（如 Blender、Linux），渲染的計算機集群使用升陽電腦公司的Sun Grid亦是開放原始碼的（如：OpenSolaris、Sun Grid Engine等），[1] [2] 製作技術和素材徹底公開。不同於上一個專案Elephants Dream，本篇全程無語音。本片完成之後，其素材適用在blender官方的游戲專案Yo Frankie!之中，反派Frankie這次成為主角。

❻ 這是什麼電影

《魔女》（마녀,Part 1. The Subversion）
是朴勛政執導的科幻動作電影，由金多美、趙敏秀、朴熙順、崔宇植主演，於2018年6月27日在韓國上映。
子允在10年前經歷過一場大型的事故，自己獨自逃了出來，卻喪失了所有的記憶，甚至連自己的名字和年齡也無從得知。
她被一對老夫妻收養後，取名「子允」，如今已經成長為了一個健康的女高中生。為了幫助生計，子允去參加選秀節目，想要獲得獎金。然而節目播出後，卻有很多不明身份的人找上門來。
有一直徘徊在子允身邊的「貴公子」，還有想要找自己在事故中失去的孩子的白博士和崔先生。子允全然記不得這些人的存在，陷入了無比的惶恐之中。

❼ 想問一部韓國電影的名字

魔女 마녀 (2018)

導演: 朴勛政
編劇: 朴勛政
主演: 金多美 / 趙敏修 / 朴熙順 / 崔宇植 / 高敏詩 / 吳美姬 / 崔政宇 / 多恩 / 金秉玉 / 李柱元 / 金河娜 / 李基英 /權泰元 / 李時勛 / 白承哲 / 袁民奎 / 金宗勛 / 徐韓傑
類型: 動作 / 懸疑
製片國家/地區: 韓國
語言: 韓語
上映日期: 2018-06-27(韓國)
片長: 125分鍾
又名: The Witch : Part 1. The Subversion

❽ 誰有胖兔子的復仇這部電影

10分鍾，想下高清網路 聖城家園 搜索名字 大雄兔
以下內容粘貼-----------------------------------------------
劇情搞笑畫面養眼的一部開源3D動畫BigBuckBUNNY《大雄兔》
雖然很短，但劇情完整，製作精良，沒有對白無需字幕...
Big Buck Bunny是Blender基金會第2部開放版權、創作共享的動畫電影。片長僅是10 分鍾，但特別的是Big Buck Bunny全部使用開放源碼軟體製作（如 Blender、Linux），渲染(graphics rendering)的計算機集群使用升陽電腦的Sun Grid亦是開放源碼的（如：OpenSolaris、Sun Grid Engine等），製作技術更是徹底地公開。
不知大家否看過世界上第一部開源電影：Elephants Dream（大象之夢）。這是一部由主要由開源軟體Blender製作的電影短片，證明了用開源軟體也能製作出效果媲美大公司的作品。
除了使用開源軟體以外，Elephants Dream本身也是開源的：由於使用了「創作共用協議『，任何人都可以復制和修改電影。
現在，第二部開源電影：Big Buck Bunny也正式發布了，目前官網已放出下載點。
Big Buck Bunny，中文直譯為：大雄兔，故事情節十分簡明、有趣，適合全年齡階層的觀眾。
與Elephants Dream一樣，Big Buck Bunny的製作也是全都由開源軟體完成的。
其中Blender作為主要的3D製作軟體，GIMP和Inkscape作為平面圖繪制軟體，Subversion作為源代碼控制軟體，Python語言則作為高效的腳本語言處理各種數據。至於系統平台，我想你也猜到了，對，是在Ubuntu平台上製作的。這個在影片結束的字幕上可以看到。
其他信息就不透露了，感興趣的朋友別忘了訪問去看喔！
記得要看到最後，字幕完了還有一段壓軸的呢！
這個影片只有10min左右，但是高清版達到好幾百mb，那麼其清晰度可見一斑，可謂是纖毫必現的完美畫質，這個開源電影內容很不錯，而且沒有對白，一定會讓你看得哈哈大笑。另外，我提供的是1080P的，由於其高畫質，所以配置比較低的電腦可能會比較卡。
另再帖一個官網的地址，不同需要的朋友要下載就在這裡面找，很多格式，大小也不同，硬碟夠大還可以來更刺激的

❾ 求火柴人電影的影評，四百字左右，英文

火柴人電影的英文影評317篇：
http://e-card.51.net//tt0325805.htm

❿ 歐美電影1973稻草人劇情介紹+分

稻草人 Scarecrow (1973)

劇情：
麥克斯和里昂是兩個流浪漢，他們一見如故，成了好朋友。麥克斯攢了一些錢，他准備用這些積蓄到匹茲堡開家汽車洗刷店。他叫里昂同他一起前往，里昂答應了。里昂有好幾年沒見到他的妻子和孩子了，十分想念他們，而麥克斯也想見見在丹佛的姐姐，於是他們決定先到丹佛。途中，暴躁的麥克斯引起不少麻煩，而能言善辯的里昂則冷靜地化解了這些矛盾。在丹佛，麥克斯見到了姐姐考莉，遂決定在丹佛開汽車洗刷店。麥克斯又一次在醉後同人發生了爭吵，他和里昂雙雙被送進了勞教場。在勞教場，因為拒絕了一個勞改犯的無禮要求，里昂被人毒打，麥克斯的意志變得十分消沉。獲釋後，在得知孩子死亡的消息後，里昂因悲傷過度而精神失常，進了醫院。為了朋友，麥克斯毅然放棄了開汽車洗刷店的打算，他要將全部的錢都用來醫治里昂。

Review：
Max and Lionel, two ordinary guys, meet by chance on a lonely country road while hitchhiking and strike up a friendship. Max (Gene Hackman) is a hot-tempered ex-con who dreams of owning his own business, a car wash. Lionel (Al Pacino) is a seaman who abandoned his pregnant girlfriend some years prior but who, despite this character flaw, is so mild-mannered and sweet you really just want to give him a big hug.

Hackman is great as the hard-edged Max, yet despite his gruff exterior you know there is a man of deep feeling and caring underneath. Pacino never fails to disappoint in whatever he does and he doesn't in this tour-de-force performance. Famous for playing loud, larger than life character's with extreme zeal -- Colonel Frank Slade from SCENT OF A WOMAN and Tony Montana from SCARFACE for instance -- here his performance is like a whisper -- quietly calm yet powerfully effective.

A nice surprise in the cast is Richard Lynch (in his screen debut) as Riley, the man who befriends Lionel while he and Max are briefly incarcerated for a bar fight. Lynch is only in the movie for approximately 20 minutes, but what a 20 minutes! His ability to convey the sleazy yet somehow likable Riley let's the audience know that this is a talent to watch for in the coming years. With such great method acting from all three actors, it's no wonder this movie won the prestigious Golden Palm Award at the 1973 Cannes Film Festival!

Scarecrow is a low-key film that succeeds on all its ambitions, but not because it tries to aim low. That the tone at times doesn't feel as emotionally incredible or intense as some other films Gene Hackman and Al Pacino got their star-making turns in the 70s (French Connection, Dog Day Afternoon, Serpico) doesn't mean it's unsuccessful either. Jerry Schatzberg and his writer are out to capture a kind of outsider view of men trying to find their places in society, almost like how Michael Cimino would do (to a more genre-oriented extent) with Thunderbolt and Lightfoot. It's not a movie a lot of people would go out of their way to see, even with the star power involved. It's about two guys who've been released from confinement from the world around them, Max from six years in jail (Hackman), Francis from five years out at sea in the Navy (Pacino), and how the two meet up unintentionally while hitchhiking, unlikely pair up, and Hackman gets Pacino to go in with him on opening up a car wash in Pittsburgh.

Why Pittsburgh? Just one of the peculiarities of Max, mayhap? More-so a thing of pride. There's characteristics to Max and Francis that make them compelling for the honesty in what they are: Max is a tough guy, tending to get drunk, get in fights, sex it up with women (who knew Hackman had such, um, animal magnetism), and Francis (also named Lion by Max) is a clown, a little boy who somehow made the mistake of having a kid with a woman before he left the Navy, and has a present ready to give to the kid in Detroit- an androgynous lamp- despite not knowing entirely what to expect. It's an odd couple movie, but also one that has a more affecting view into a world of men on the fringe of society. These guys don't have big plans, and wouldn't want any anyway. It's refreshing to see that, and how it pans into the nature of them and their environment: the small towns, the local dives, the bad drunks, and, when things go bad after a big brawl ring a drunken hoopla, the subtle horrors of prison for the both of them. Did I mention train-hopping?

A film like this, despite having on its side gorgeous cinematography by Vilmos Zsigmond (who, along with Badlands and, in its own way Mean Streets, captures a vision of Americana that is pure and unique to its time and place), needs strong acting. Who better than Hackman and Pacino? They're playing big personalities, with Hackman doing great as always in a somewhat typical part of a guy who's aggressive and pig-headed but does have a hear. And Pacino doing a rare comedic turn as he gives some of his funniest (genuine, not unintentional scene-stealing) moments, like his 'diversion' gone wrong in the clothing store, or his classic "teach me how to handle a drunk" bit at the bar. Sometimes its too much, but it leads to a bittersweet side to the story that turns even more bitter by the time Schatzberg reaches the emotional climax in Detroit. What's been alternately crude and crazy, sometimes in ways that remind one a little of Altman, turns towards what is a small but great tragedy for these characters. And doing the script one better, the actors are able to get subtle, crushing, telling moments in scenes that others wouldn't be able to grasp with a ten-foot pole.

It's also a fun movie, with a feel that you could only get in one of the truly great years in all movies (look at the year this came out, and realize how many films of its ilk were released, be they independent-like from Scorsese or Altman or Ashby or even Romero, or even Friedkin's Exorcist). Scarecrow is of its time, but it doesn't mean it can't be greatly liked in the present; it's even a near classic of genre subversion, doing a service to drama and comedy by not paying lip-service to either form, but enriching what comes naturally out of life, which is both sometimes, harrowingly, at once