珍妮弗·西蒙斯当选苏里南首位女总统
用国际语言表达东方之美，曹俊新作展在荣宝斋开幕
是代表韩国喜剧的20人藉着Netflix单独推出节目的机会，在年龄、经历、阶级等方面展开的搞笑对决综艺。 喜剧演员李京奎、卓在勋、文世润、李龙真、郑英俊等5人将担任“大师”。和后辈喜剧演员们组队，搞笑地为了生存而孤军奋战。 李京奎队有李昌浩、严智允、赵勋，卓在勋队有李尚俊、申圭镇、罗善旭。文世润和黄济成、李恩智、金胜镇一起组队，李勇镇和金斗英、崔智勇、朴镇浩组队。郑英俊将与郭范、李善敏、李在律出战。综艺《我的小电视》的权海春PD，《蚂蚁今天也翻滚》，《PLAYou》的朴贤锡PD担任制作人。
廊坊又添两家物美“学习胖东来自主调改”超市
具备空投功能！“烟台造”载重1吨级大型无人运输机成功首飞
俄罗斯宣布：禁止在家养熊！网友：原来“战斗民族养熊”是真的？
影片故事的原素材是在日朝鲜人李珍宇，在种族歧视之下，精神空想到变态地步。不仅歼杀两名年轻女子，而且把经历写成小说参加报社征文，甚至在杀人之后还用平静的声音打电话给报社。在被判死刑后，一名在日朝鲜女记者
韩媒：韩国拟成立联合工作组严打操纵股价
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.
“黔韵千彩”吴定鎏画展在厦门开幕，展至12月1日