INDIA is an exotic mixing pot of iconic wildlife, secret locations, epic landscapes and colourful beauty. This iconic and landmark series is a celebration of India’s most spectacular locations and incredible wildlife. From the "home of snow" in the epic Himalayan Mountains we travel to the mighty River Ganges, lifeblood of India as it carves out its dramatic path across the subcontinent. We also reveal Thar, the “Great Indian Desert”. Its territory includes much of Rajasthan (“the desert state”), where the bleakness of its environment is juxtaposed with the striking colours of traditional Rajasthani dress and amazing wildlife spectacles Also featured is India's lost world of the north east, home to head hunting tribes, tiger infested forests, mountains not yet climbed, rivers waiting to be fished. And finally to the Western Ghats. This biodiversity hotspot is home to epic waterfalls, hill tribes, hidden caves and stunning wildlife.. Part 1: Thar Desert Sacred Sands Covering 200,000 square kilometres, India’s Thar Desert is one of the harshest places on the planet. Baking heat, desiccating winds and near permanent drought has earned this unforgiving land another name – “the region of death.” As we explore India’s great desert we unveil its hidden secrets, and ultimately shed light as to how the Thar has become the most crowded desert in the world. Part 2: Ganges River of Life The Ganges is the longest river in India. It flows from the glaciers of the world’s highest mountains, the Himalayas, to the largest bay in the world, the Bay of Bengal. Human pollution threatens to overwhelm the river, but somehow wild animals survive. Hindus believe that Ganges water has the power to purify, and it seems there is some scientific evidence to support this conviction: microscopic organisms actually eat bacteria that could cause disease, and uniquely high level levels of oxygen break down organic waste faster than any in other river. This self-cleaning property of Ganges water helps support some of the last remaining true wilderness in the world – the Sundarbans swamp. Here, India’s largest population of wild tigers have never learned to fear man, making them very dangerous neighbours. Part 3: Himalayas Surviving the Summits Outside Asia, no peak reaches above 7000 metres, but along the Himalayan range, over 100 mountains exceed this height by at least 200 metres, making it the tallest mountain range on the planet.As Earth meets the sky along this hostile terrain, powerful winds, sub-zero temperatures, and a lack of oxygen oppose virtually all forms of life, but remarkably, this immense geological feature somehow supports one of the largest and most diverse collections of creatures on the planet – including man. While the Himalayas rugged highlands offer little direct refuge to humans, in the shadow below, over a billion people in India rely on the mountains for survival. Part 4: Western Ghats Monsoon Mountains Stretching for a thousand miles along India’s west coast, the Western Ghats are a spine of mountains that lay claim to being one of the most bio-diverse places in the world. Mountains rear their heads into the path of monsoon clouds, intercepting rains and making the western slopes some of the wettest places in India. Tropical rainforests thrives, and explode with life. The Western Ghats hold the key to life across southern India. Rainwater harvested by the mountains washes down to the coast, feeding Kerala’s backwaters; huge rivers flow east across India’s dry interior, a lifeline to animals and people. Part 5: Indias Lost World Imagine a lost world – head hunting tribes, tiger-infested forests, unclimbed mountains, pristine rivers. Known as the Seven Sisters of India, there are seven relatively unexplored and isolated Indian states. What mysteries lie within this secretive land and why have they remained untouched for so long? North-east India is an anthropological paradise; there is no other place on Earth with so many different ethnic groups. The forest slopes are filled with mysterious tribes whose lives are dictated by the ebb and flow of the rain and the seasonal fruits of the forest. In these largely unexplored and isolated areas people scarcely known to the Western world continue a way of life steeped in ancient rituals.
在纽约看的大银幕，之前铺垫有点冗长，中后段渐入佳境
质感梦回天国王朝，音乐很美，表演、剪辑、摄影、叙事无懈可击，这才是好的复调叙事。罗生门演绎但并不将重心放在悬疑之中。但我不满于他强行的女权视角，为什么妻子就是真相并没能说服我。尚当然不尊重自己的妻子，更想要孩子并且作为和铲除敌人的借口，爱人遭受强奸也要命令她再行房事。玛格丽特当然也有她觉醒的成分，敢于说出真相，也并不是无条件守妇道。但这仍然不是女权电影，因为这些元素不是影片的最终目的，有更大的主题被阐释。反而中世纪那愚昧的科学观（强暴不会怀孕，只有愉悦才会怀孕）、善恶观和价值观更令人惊诧。脱离历史视角看问题很蠢，这些事件和情境在影片里是完满的，非要拉到当下去解读显然是无效的。
虽然和《英雄》一模一样的三段结构（更早是《罗生门》）但细节填充得很漂亮，果然问题不在于重复，而在于怎样完善细节。
坐在影片档案馆里，听四川话配音、读英文字幕、还在银幕上看到初中同学，时间和空间都被打乱捏碎，投给了这场历史与虚构编织的盛宴。
“罗生门”式的叙事是画蛇添足，三次不同视角都表明玛格丽特是被强暴的，那么多点叙事并不是混淆观众的视听，唯一的解释是为了表现卡鲁日和格里的自私，而格里一开始就是个“情种”和人渣，根本不需要三次叙事来佐证，而卡鲁日自私一面的呈现就完全可以在一次叙事中完成，所以一个半小时的片长就足够了，抻长到两个半小时完全是故弄玄虚，并佯装宏大叙事罢了，或者说让影片显得要“雷德利•斯科特”一些，维系自己的门面和名声而已。
将中世纪文化历史与当代女性主义观念恰切融合的精湛之作。三段式多视角叙事，看似"罗生门"，实则最终的女主视角才是痛切无比却又屡遭延宕与遮蔽的真相。乍看之下接近于“偷懒”的重复叙事，实际上每一场景的构图、运镜和节奏都有微妙差别，在叙述内容上三段也呈渐次递进与多面互补的关系。两位男主的自恋、虚伪、臆想与自我美化在第三段均昭然若揭。不过，比起宗教-政治权力体系中男性的相互包庇与沆瀣一气，女性间的嫉妒、恶意与互害行为更令人胆寒，甚至连曾经的受害者也自觉内化父权制的思维，对新一代的受难者也饱含敌视，但这却是古往今来人类难以真正摆脱的暴虐行为模式。决斗戏拍得惊心动魄，让人不能不与女主同呼吸共命运，而国王、贵族与群众的猎奇看客心态亦是刻骨讽刺。本片服化道十分精良，朱迪·科默人美演技佳。（8.5/10）
导演的美术出身实在是为电影奠定了强烈的美学风格。表演、服化、布景采用贴近戏班戏台演出，形成了奇妙的戏中戏
ben多次gang bang只带司机，你说马达能不气吗！拍得倒是不差，但是用罗生门的方法讲这个故事未必合适。不如直接用女主的视角就好。
一幅横向移动的卷轴 #MoMI screening
🐶小日子渗透到我们南京大屠杀纪念馆了快恐怖恐怖退！ 退！ 退！
TV动画《鬼灭之刃》的合集：第01~05集→《兄妹的羁绊》、第06~10集→《浅草篇》、第11~14集→《鼓屋敷篇》、第15~21集→《那田蜘蛛山篇》、第22~26集→《柱众会议・蝶屋敷篇》。
A—>B—>女人，既不新鲜也不聪明更遑论“女性视角”（回过头看罗生门确实高明）。女权主义作为一种伦理视角，我们并不关注前两种真相；女权主义作为一种意识形态，我们更暴论地认为不存在前两种真相。看这两年女性创作者以女性经验创作的主流电影遭遇各种挑剔的尴尬（外有前程似锦女孩，内有我的姐姐），完全预料得到，今后，像雷公这种无关痛痒又长又臭的片子会被吹上女性电影的宝座。这片这评论不管好评和差评都看得想仰天长笑🙄
无论谁的一生拉长看都是悲剧，在这片土地上就更显荒诞了。文本上没太多意外的地方，倒是形式与风格令人惊喜，依赖视觉美学、剧场感和人物表演形成的间离体系。
看得想手撕Adam Driver🙃这哪是什么中世纪，明明就是活生生的当下。
无惨这个角色还是可以好好挖掘的;原来现在节奏已经比当年好多了,还是一次性看爽
是不錯的 很多長鏡頭很喜歡 像舞台劇的官方攝影 時長太長了 @ filmothèque du quartier latin
新又新！@ Anthology Film Archives
主要是讲炭治郎偶遇终极大反派，而后遇到鬼医生和她的迷弟，被请回家，双方针对如何变回人进行了探讨，并达成合作
在这样的年代仍饱含着对过往两朝历史洪流中人民日常生活细节的追溯，且以极为稀缺独特的艺术工作坊式的方法完成。历史大舞台下的他方唱罢尔登场，民间传说中的阴阳神鬼孟婆，以及随波逐流于期间的三教九流各色人等，堪称精妙的历史群像画卷。而献世诸多霸占着的主旋律票房大户们在如此影像映照之下就更显其小丑之态，当下这样的年代是配不上这样的电影的。
混剪版本，没有增加任何新的元素，就是把TV版的做成一部动画，和其它合集版，没有啥区别
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