第69回NHK红白歌合战
第69回NHK红白歌合战(zhàn )（(😫)第(⤴)(dì )69回NHK红白(🐌)歌合戦(zhà(♐)n )），是日本放送(sòng )协会（NHK）举办(bà(🔪)n )的(🕓)大(dà )型(🌶)音(💡)乐节目，亦(👻)是(shì )红白歌(gē )合战(zhàn )的第69场节目。节(🔡)目(mù )于(💜)2018年(⛲)12月31日在(zà(🧣)i )NHK音乐厅举(➡)行。2018年10月(yuè )5日，NHK发表了“第69回(huí )NHK红白歌(🐭)合(✍)战(zhàn )”节(🛂)目(📄)播出时(shí(🐼) )间及(jí )节目主题“歌唱梦想（梦(mè(🤩)ng )を(😐)歌(gē )お(👿)う(🚦)）”，该主题(📦)(tí )是继前(🏆)两回(huí )（第67回、第68回(huí )）后(hòu )的(🚂)第(🏊)三次使用(♈)，主题将一(🕜)(yī )直沿(yán )用至2019年“第70回(huí )NHK红白(bái )歌(🧛)合(🥚)战”为(wé(🏪)i )止(✅)，以此应援(🍞)(yuán )即将(jiāng )开幕的2020年东京奥运(yùn )会和(🏍)2020年(nián )东(💛)京(🚘)(jīng )残奥会(🍗) 。除了(le )NHK综合(🚹)(hé )频道外，本(běn )届红白歌会也(yě )将(🤮)会(🏿)(huì )在同(🚯)年(🦅)12月1日开播(❤)的(de )NHK BS4K、NHK BS8K频道并机(jī )直播。
The Focusing Effect is a faux-documentary/horror film about three film students who make a doc about breakups, only to push one of their subjects too far.
A group of social media influencers go to an afterparty in a Hollywood Hills mansion only to find themselves the target of a ruthless masked killer.
UNDERNEATH is a collaborative piece featuring four emerging directors, creating five distinctly different cinematic pieces all bound together by common themes of madness and ancient cruelty - think V/H/S meets CREEPSHOW with a supernatural flare.
Taapmaan is a hard-hitting, dark action drama about an independent filmmaker whose only wish is to become the kind of filmmaker he wants to be. He has been struggling since quite long but still has nobody standing by his side. In addition to this, his not-so-successful career gets affected badly when an online critic, with whose opinion he had once disagreed, gets him framed for making a snuff film. When he's not provided justice, he gets shattered from within and proclaims openly to sacrifice his speech unless he gets justice. But in the age of digital media, isn't he just another guy who wants his work to be seen and appreciated? His battle intensifies when time passes by and lack of justice makes him brutal and extremely angry.
巴勒斯(sī )坦(⛄)電(🚖)(diàn )視台(⬇)攝(📮)製臥底肥(💽)皂劇，連(liá(📿)n )以色(sè )列婦孺都晚晚追看(kàn )。編劇(🕠)因(🔗)情(qíng )節背(🎾)離革命而(🏐)(ér )辭職(zhí )，監製的多口侄仔助理受(🍳)(shò(📀)u )命執(zhí(🛵) )筆(🐛)，頻頻借女(😺)(nǚ )角之(zhī )口，向電視(shì )機前的舊愛(🕸)示(🔚)(shì )好，以(🚢)色(🗜)列檢查站(💗)軍官(guān )則(🔠)企圖(tú )恃權(quán )影響劇情發展(zhǎn )，以(🏗)(yǐ(🚝) )便在追看(😐)的(de )嬌妻面(🛶)前自吹(chuī )自擂(lèi )。助理即使槍抵腦(🗼)(nǎ(👪)o )殼，都不(🔙)肯(♒)(kěn )接受軍(🍪)官要求(qiú )的大(dà )團圓結局。抗爭，必須繼(jì )續(🚦)！影(🐶)展新秀蘇(📸)亞比巧(qiǎ(🤵)o )妙調侃以巴(bā )關係，他的喜(xǐ )劇座(Ⓜ)(zuò(🅰) )右銘是(🈴)：(🔱)要能大笑(⛅)，必須(xū )面對(duì )苦痛，並與之周旋(xuá(🏹)n )。獲(😄)威尼斯(📧)(sī(⚪) )地平線單(🏚)元最(zuì )佳(✏)男(nán )主角獎。
Loosely following a traditional Passover Seder, events from the Book of Exodus are retold by Moses, Aharon, the Angel of Death, Jesus, and the director's own father. But there's another side to this story: that of the Goddess, humankind's original deity. Seder-Masochism resurrects the Great Mother in a tragic struggle against the forces of Patriarchy.
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