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【《暗芝居》第九季 公布视觉图】TV动画《#暗芝居# 》，色欲区公布了第九季的视觉图，第九季将于2021年7月开播。
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【《暗芝居》第九季 公布视觉图】TV动画《#暗芝居# 》，色欲区公布了第九季的视觉图，第九季将于2021年7月开播。
回复 :打算于农村度过余生的高龄夫妇「正藏」与「依音」懊悔著过去未能趁年轻时完成许多事，两人觉得拥有彼此的陪伴就已是很幸福的事了，然而…隔天起床时，两人竟发现突然返老还童！？正藏向依音提出蜜月的建议，两人决定重返新婚时代的夫妇生活。
回复 :第81届奥斯卡完全获奖名单【最佳影片】贫民窟的百万富翁 （Slumdog Millionaire）【最佳导演】丹尼尔·鲍耶《贫民窟的百万富翁》/ Danny Boyle, Slumdog Millionaire【最佳男主角】肖恩·潘《米尔克》/ Sean Penn, Milk【最佳女主角】凯特·温斯莱特《生死朗读》/ Kate Winslet, The Reader【最佳男配角】希斯·莱杰《蝙蝠侠：黑暗骑士》/ Heath Ledger, The Dark Knight【最佳女配角】佩内洛普·克鲁兹《午夜巴塞罗那》/ Penelope Cruz, Vicky Cristina Barcelona【最佳原创剧本】达斯汀·兰斯·布莱克《米尔克》/ Dustin Lance Black, Milk【最佳改编剧本】西蒙·比尤弗伊《贫民窟的百万富翁》/ Simon Beaufoy, Slumdog Millionaire【最佳动画长片】Wall-E（Wall-E，迪士尼·皮克斯公司）【最佳纪录长片】走钢丝的人（Man on Wire）【最佳外语片】入殓师（Departures，日本）【最佳剪辑】贫民窟的百万富翁（Slumdog Millionaire）【最佳摄影】贫民窟的百万富翁 （Slumdog Millionaire）【最佳视觉效果】本杰明·巴顿奇事（The Curious Case of Benjamin Button）【最佳音效剪辑】蝙蝠侠：黑暗骑士（The Dark Knight）【最佳音响效果】贫民窟的百万富翁（Slumdog Millionaire）【最佳艺术指导】本杰明·巴顿奇事（The Curious Case of Benjamin Button）【最佳服装设计】公爵夫人（Duchess）【最佳化装】本杰明·巴顿奇事（The Curious Case of Benjamin Button）【最佳配乐】拉曼《贫民窟的百万富翁》/ A.R. Rahman, Slumdog Millionaire【最佳歌曲】"Jaiho" -《贫民窟的百万富翁》（Slumdog Millionaire）【最佳动画短片】回忆积木小屋（La Maison en Petits Cubes）【最佳真人短片】玩具王国（Spielzeugland(Toyland)）【最佳纪录短片】微笑的品奇（Smile Pinki）【吉恩·赫谢特人道主义奖】杰瑞·路易斯长片获奖统计——8 贫民窟的百万富翁3 本杰明·巴顿奇事2 米尔克2 蝙蝠侠：黑暗骑士1 生死朗读1 午夜巴塞罗那1 公爵夫人1 Wall-E1 走钢丝的人1 入殓师
回复 :"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.
