subversion法国电影

❶ 一只大兔子有关的电影

2011年国产3D动画《兔侠传奇》；《兔侠传奇》是一部90分钟全3D的动画片，形象取材于明代至今，是京津地区的最有神化色彩的儿童玩偶兔儿爷。“兔侠”形象具有浓郁的中国味道，造型滑稽喜兴，有着新鲜的动画形象感。《兔侠传奇》讲述的是一个信守并履行承诺的故事。著名编剧邹静之赋予传统的“兔儿爷”以全新的内涵，使其成为真正的“兔侠”。影片将于2011年7月正式上映。

❷ 韩国电影魔女会不会出第2吗

截止2020年2月官方没有公布出韩国电影《魔女》第2的信息。

《魔女》是朴勋政执导的科幻动作电影，由金多美、赵敏秀、朴熙顺、崔宇植主演，于2018年6月27日在韩国上映。该片讲述了在某次造成大量死亡的事件发生后，唯一的幸存者被一对夫妇收养并取名“子允”，多年后子允与知晓事件真相的人们相遇从而引起一系列杀戮的故事。

(2)subversion法国电影扩展阅读：

角色介绍

1、具子允演员： 金多美

在10年前一场大型死亡事故中幸存的少女，身世扑朔迷离。被善良的老夫妇收养后成长为健康的女高中生。外表看似柔弱，实际武力和智力都是顶尖的，而且拥有控制物体飘浮的能力。

2、贵公子演员： 崔宇植

在子允去参加选秀节目的途中突然出现在她面前的神秘男子。尽管子允称不认识他，他却坚持他们之间不但相识而且有千丝万缕的联系。从此以后他就一直徘徊在子允周围。

❸ 请问这是什么电影名

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

导演:朴勋政。编剧:朴勋政
主演:金多美/赵敏修/朴熙顺/崔宇植/高敏诗/

该电影讲述了10年前在一起奇怪的事故中独自生还的失忆少女子允，在一对老夫妇的抚养下长大。为了贴补家用，子允参加了某档电视节目，但让她没想到的是，就在节目播出后，开始有各种奇怪的人出现在她面前……

❹ 之前在家乐福看到在放的一部动画片，里面有一个巨肥巨强壮的兔子，还有很肥很圆的飞鼠，有没有人知道

片名叫Big Buck Bunny
这是这个片子的网络http://ke..com/view/1845878.htm

❺ 这个是什么动画片

大雄兔

大雄兔（Big Buck Bunny）是Blender基金会第2部开放版权、创用CC的动画电影，代号Peach。片长10分钟，Big Buck Bunny全部使用开放原始码软体制作（如 Blender、Linux），渲染的计算机集群使用升阳电脑公司的Sun Grid亦是开放原始码的（如：OpenSolaris、Sun Grid Engine等），[1] [2] 制作技术和素材彻底公开。不同於上一个专案Elephants Dream，本篇全程无语音。本片完成之後，其素材适用在blender官方的游戏专案Yo Frankie!之中，反派Frankie这次成为主角。

❻ 这是什么电影

《魔女》（마녀,Part 1. The Subversion）
是朴勋政执导的科幻动作电影，由金多美、赵敏秀、朴熙顺、崔宇植主演，于2018年6月27日在韩国上映。
子允在10年前经历过一场大型的事故，自己独自逃了出来，却丧失了所有的记忆，甚至连自己的名字和年龄也无从得知。
她被一对老夫妻收养后，取名“子允”，如今已经成长为了一个健康的女高中生。为了帮助生计，子允去参加选秀节目，想要获得奖金。然而节目播出后，却有很多不明身份的人找上门来。
有一直徘徊在子允身边的“贵公子”，还有想要找自己在事故中失去的孩子的白博士和崔先生。子允全然记不得这些人的存在，陷入了无比的惶恐之中。

❼ 想问一部韩国电影的名字

魔女 마녀 (2018)

导演: 朴勋政
编剧: 朴勋政
主演: 金多美 / 赵敏修 / 朴熙顺 / 崔宇植 / 高敏诗 / 吴美姬 / 崔政宇 / 多恩 / 金秉玉 / 李柱元 / 金河娜 / 李基英 /权泰元 / 李时勋 / 白承哲 / 袁民奎 / 金宗勋 / 徐韩杰
类型: 动作 / 悬疑
制片国家/地区: 韩国
语言: 韩语
上映日期: 2018-06-27(韩国)
片长: 125分钟
又名: The Witch : Part 1. The Subversion

❽ 谁有胖兔子的复仇这部电影

10分钟，想下高清网络 圣城家园 搜索名字 大雄兔
以下内容粘贴-----------------------------------------------
剧情搞笑画面养眼的一部开源3D动画BigBuckBUNNY《大雄兔》
虽然很短，但剧情完整，制作精良，没有对白无需字幕...
Big Buck Bunny是Blender基金会第2部开放版权、创作共享的动画电影。片长仅是10 分钟，但特别的是Big Buck Bunny全部使用开放源码软件制作（如 Blender、Linux），渲染(graphics rendering)的计算机集群使用升阳电脑的Sun Grid亦是开放源码的（如：OpenSolaris、Sun Grid Engine等），制作技术更是彻底地公开。
不知大家否看过世界上第一部开源电影：Elephants Dream（大象之梦）。这是一部由主要由开源软件Blender制作的电影短片，证明了用开源软件也能制作出效果媲美大公司的作品。
除了使用开源软件以外，Elephants Dream本身也是开源的：由于使用了“创作共用协议‘，任何人都可以复制和修改电影。
现在，第二部开源电影：Big Buck Bunny也正式发布了，目前官网已放出下载点。
Big Buck Bunny，中文直译为：大雄兔，故事情节十分简明、有趣，适合全年龄阶层的观众。
与Elephants Dream一样，Big Buck Bunny的制作也是全都由开源软件完成的。
其中Blender作为主要的3D制作软件，GIMP和Inkscape作为平面图绘制软件，Subversion作为源代码控制软件，Python语言则作为高效的脚本语言处理各种数据。至于系统平台，我想你也猜到了，对，是在Ubuntu平台上制作的。这个在影片结束的字幕上可以看到。
其他信息就不透露了，感兴趣的朋友别忘了访问去看喔！
记得要看到最后，字幕完了还有一段压轴的呢！
这个影片只有10min左右，但是高清版达到好几百mb，那么其清晰度可见一斑，可谓是纤毫必现的完美画质，这个开源电影内容很不错，而且没有对白，一定会让你看得哈哈大笑。另外，我提供的是1080P的，由于其高画质，所以配置比较低的电脑可能会比较卡。
另再帖一个官网的地址，不同需要的朋友要下载就在这里面找，很多格式，大小也不同，硬盘够大还可以来更刺激的

❾ 求火柴人电影的影评，四百字左右，英文

火柴人电影的英文影评317篇：
http://e-card.51.net//tt0325805.htm

❿ 欧美电影1973稻草人剧情介绍+分

稻草人 Scarecrow (1973)

剧情：
麦克斯和里昂是两个流浪汉，他们一见如故，成了好朋友。麦克斯攒了一些钱，他准备用这些积蓄到匹兹堡开家汽车洗刷店。他叫里昂同他一起前往，里昂答应了。里昂有好几年没见到他的妻子和孩子了，十分想念他们，而麦克斯也想见见在丹佛的姐姐，于是他们决定先到丹佛。途中，暴躁的麦克斯引起不少麻烦，而能言善辩的里昂则冷静地化解了这些矛盾。在丹佛，麦克斯见到了姐姐考莉，遂决定在丹佛开汽车洗刷店。麦克斯又一次在醉后同人发生了争吵，他和里昂双双被送进了劳教场。在劳教场，因为拒绝了一个劳改犯的无礼要求，里昂被人毒打，麦克斯的意志变得十分消沉。获释后，在得知孩子死亡的消息后，里昂因悲伤过度而精神失常，进了医院。为了朋友，麦克斯毅然放弃了开汽车洗刷店的打算，他要将全部的钱都用来医治里昂。

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