万千星辉颁奖典礼2019

田中芳樹の大長編SF小説「銀河英雄伝説」を、Production I.Gの制作で新たにアニメ化した「銀河英雄伝説 Die Neue These（ディ・ノイエ・テーゼ）」のセカンドシーズン第2章。2018年放送のファーストシーズン「邂逅」（第1～12話）に続くセカンドシーズン「星乱」（第13～24話）は、全12話を4話ずつ全3章にわけて劇場上映する。宇宙暦797年、帝国暦488年、皇帝の急死によって巻き起こった門閥貴族による権力闘争に揺れる銀河帝国では、ローエングラム候ラインハルトとリヒテンラーデ公の枢軸に対抗する貴族らが「リップシュタット貴族連合」を結成し、後に「リップシュタット戦役」と呼ばれる戦いの幕が切って落とされる。一方、自由惑星同盟でも腐敗した政権に異を唱える「救国軍事会議」がクーデターを引き起こし、首都ハイネセンを実効支配下に置く。それぞれの国を揺るがす2つの内乱は、ラインハルトとヤン・ウェンリーの行く末をも左右していく。

Valerie Taylor is a shark fanatic and an Australian icon — a marine maverick who forged her way as a fearless diver, cinematographer and conservationist. She filmed the real sharks for “Jaws” and famously wore a chainmail suit, using herself as shark bait, changing our scientific understanding of sharks forever.

经过16岁绚烂的夏天之后，这条神奇的牛仔裤一直轮流陪伴着卡门、堤比、莲娜和布莉姬四个挚友，她们把各自的经历作为图案绣在牛仔裤上，相互传递和分享着彼此的心路历程。3年时间过去了，四个女孩子进入了不同的大学，有了新的朋友，大一暑假即将来临，新的奇遇正在等着她们。这个夏天，布莉姬（布蕾克?莱弗利 Blake Lively 饰）跟着考古队去了土耳其，一边探寻古迹一边不断询问自己的过去，陷入了失去妈妈的悲痛。莉娜（阿丽克西斯?布莱德尔 Alexis Bledel饰）与希腊男友分手以后，在学院里遇到了一个心动的男孩，犹豫要不要开始新的恋情。堤比（爱波?塔布琳 Amber Tamblyn 饰）为拍摄电影而忙碌着，与男友的关系进入敏感阶段，不自觉陷入了对爱情的恐慌。卡门（亚美莉卡?费雷拉 America Ferrera 饰）因为朋友们暑假的缺席，加上妈妈为迎接新生命的无暇顾及，接受了去做戏剧节的幕后工作人员的邀请，期间不但被英俊男主角所关注，甚至还被推荐为女主角。这个夏天，将给四个女孩子带来更多惊喜……

The Deserted Archipelago was my first independently directed and produced film. The film won the Grand Prix at the Nyon International Film Festival and garnered considerable attention both overseas and in Japan. The film follows an extremely simple story of a plain boy who matures into manhood while constantly manipulated by nuns. But woven into this narrative are my own experiences and the history of postwar Japan as well as a series of fantasies. The result is a multifaceted and multilayered objet, the birth of a newly sur-realistic filmmaking. On August 15th, the day the war ended, I was in the third year of primary school. That day, when the reality that I had known turned completely upside down, I was saddled with the trauma of no longer being able to believe in anything. Searching here and there for some kind of spiritual salvation, I finally found the existentialism of Albert Camus. From there, I was able to build up my own kind of existentialism and this film is best understood as based in that “Kanai Katsu Existentialism.” The film was praised by European film scholars Max Tessier and Tony Rayns and was screened as part of “Eiga: 25 Years of Japanese Film,” a special program at the 1984 Edinburgh International Film Festival.