主演:Razvan Lutac Mirela Neag Camelia Roiu Catalin Tolontan Tedy Ursuleanu Vlad Voiculescu
导演:亚历山大·讷讷乌
简介:《集体》是由亚历山大·讷讷乌执导,Razvan Lutac等主演的电影,于2019年9月4日在威尼斯电影节首映,于2020年1月28日在罗马尼亚上映。影片讲述罗马尼亚一家报社的调查记者揭露该国医疗体系的腐败丑闻。2021年3月15日,获第93届奥斯卡金像奖最佳国际影片和最佳纪录长片提名。导演亚历山大·纳诺(Alexander Nanau)跟随罗马尼亚报纸Gazeta Sporturilor的一个精锐调查小组,试图揭露一起巨大的医疗欺诈行为,这些欺诈行为让大亨和政客致富,并导致无辜公民死亡。2015年10月30日,科莱采夫一家夜店内的音乐会上突发火灾,27名年轻人当场死亡,180人受伤。这场大火引爆了罗马尼亚社会的方方面面。[1]2015 年,布加勒斯特 Colectiv 俱乐部发生火灾,造成 27 人死亡、180 人受伤。很快,更多的烧伤患者开始在医院因没有生命危险的伤口而死亡。然后一名医生向调查记者团队告发了此事。当记者们开始揭露大规模的医疗保健欺诈行为时,一项揭露引发了另一项揭露。当新的卫生部长被任命时,他提供了前所未有的途径来了解他改革腐败制度的努力,但也提供了他所面临的障碍。《集体》跟随记者、举报人、烧伤受害者和政府官员的脚步,毫不妥协地审视了调查性新闻的最佳影响力。2015 年 10 月 30 日,罗马尼亚布加勒斯特,金属乐队Goodbye to Gravity在Colectiv俱乐部举办音乐会;烟火引发火灾并迅速吞没俱乐部,立即造成 27 人死亡、180 人受伤。在接下来的几个月里,又有 37 名受害者死亡,部分原因是公立医院缺乏适当的医疗服务。在消息人士告知公立医院使用的消毒剂被稀释后,记者开始调查公立医院医疗保健管理不善的情况。测试证实了这一点,记者随后发表了一篇关于供应商河西制药及其如何伪造所提供消毒剂文件的严厉报道。这个故事还揭示了政府未能正确核实供应商及其产品。卫生部长Patriciu Achimaş-Cadariu [ ro ]下令进行调查。当《公报》记者Cătălin Tolontan在电视上讨论调查结果时,卫生部长驳回了记者坚持的事实和证据,并表示政府测试表明消毒剂溶液的有效性为 95%。记者们进一步调查,找到了一个消息来源,证实情报部门多年来一直知道细菌感染会导致人死亡,但没有采取任何行动。《公报》刊登了这篇报道,针对腐败和缺乏适当的医疗保护的大规模抗议仍在继续。因此,卫生部长辞职,并对河西制药首席执行官Dan Condrea [ ro ]进行刑事调查。政府在新闻发布会上宣布,他们已经对河西药业的产品进行了测试,发现溶液全部被稀释。Tolontan 询问卫生部之前声称的 95% 的有效性,卫生部拒绝就他们之前的说法发表评论。不久之后,康德里亚在一场车祸中丧生。后来,《公报》获得了一段视频,视频中一名医院病人的伤口里长满了蛆虫。他们的消息来源是一位沮丧的医生,他解释说,即使在 2015 年底社会民主党政府下台之后,因消毒剂稀释或输血服务不足而造成的患者死亡仍然有增无减。新任卫生部长弗拉德·沃伊古列斯库 (Vlad Voiculescu) 会见了这位医生,她详细介绍了如何医院管理层回避了这些问题,在病人濒临死亡时没有采取任何行动。她还讨论了医院如何不人道地对待病人,以及医院经理和医生之间如何安排贿赂。沃伊库列斯库的结论是,公立医院中没有一个单位不受严重的行政腐败的影响。他了解到,他无法解雇目前在位的腐败医院管理人员,其中许多人是通过贿赂获得职位的,因此他要求对任何新的医院管理人员实行极其严格的规定。他开始意识到整个体系已经腐烂,根除腐败就需要“解雇所有人”。当他认为肺移植科室存在危险而撤回资金时,他成为布加勒斯特市长加布里埃拉· 菲雷亚 (Gabriela Firea)领导的一场新闻运动的目标,市长指责他浪费纳税人的钱将病人运送到维也纳,尽管布加勒斯特的科室是据称完全获得执行相同操作的资格 - 一位教授私下向沃伊库列斯库承认,该单位不应该获得认可,而且是在政治压力下完成的,但请求沃伊库列斯库不要公开谈论此事,以避免可能毁掉的丑闻该研究所的声誉。选举日到来,社会民主党大获全胜,获得最多选票。托隆坦的同事在《公报》上透露,她与一个警告记者及其家人安全的人进行了一次非正式谈话。后来,公立医院任命了一名不具备管理资格、在法律上不具备管理医院能力的管理者。
主演:Anna Neagle Anton Walbrook C. Aubrey Smith Walter Rilla
导演:Herbert Wilcox
简介:Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
主演:Anna Neagle Anton Walbrook C. Aubrey Smith Walter Rilla
导演:Herbert Wilcox
简介:Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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