紐西蘭英文電影

Ⅰ 問一部紐西蘭電影的名字

《神秘群島》，黛米摩爾主演。

請採納

Ⅱ 紐西蘭拍過啥電影

《魔戒3部曲》(Lord Of Rings)
《納尼亞傳奇》影片大部分取景在紐西蘭弗洛克山.奧克蘭 .克賴斯特徹奇 .奧奧馬魯.等等
極小部分在捷克.布拉格.英國 .倫敦.

Ⅲ 有哪些推薦的紐西蘭電影

推薦《指環王》

這部電影是根據英國作家、語言學家、牛津大學教授約翰·羅納德·瑞爾·托爾金創作的長篇奇幻小說改編而成的。是一部一經上映就成為經典的作品。而這部電影也為紐西蘭的電影史增加了濃墨重彩的一筆。

紐西蘭一直是一個讓人感覺很清新干凈的國家，指環王的出現給這個國家又增加了不少神秘的色彩和讓人神往的力量。

電影中，主角弗羅多的故鄉夏爾(Shire)，一個風光怡人充滿悠閑田野風情的哈比村，借景就來源於紐西蘭北島懷卡托平原農牧區的瑪塔瑪塔 （Matamata）市區外的一個小農庄霍比屯。本來已經拆除了大部分，但是《霍比特人》的拍攝，讓霍比屯得以重新修復，並可以長久保留，所以這部電影對於這個地方也有著十分重要的意義。

第二個地點就是皇後鎮，電影中有一幕，當逃出地底礦區後，魔戒遠征隊懷著悲傷的心情來到了精靈王國所在的羅斯洛立安森林，在這里，美麗的精靈女王告訴弗羅多，他的冒險旅程將會是孤獨的。這個森林的取景地就是皇後鎮。

Ⅳ 求一部美國恐怖片名字，講的是一群會吃人的綿羊

英文名： Black Sheep

中文名： 瘋羊

導 演： ( Jonathan King )

主 演： (Nathan Meister) ( Danielle Mason) ( Peter Feeney) ( Tammy Davis) ( Glenis Levestam) ( Tandi Wright) 瘋羊全部演員表

上 映： 2007年06月22日 美國 詳細上映地區

地 區： 紐西蘭 更多詳細拍攝地

對 白： 英語

評 分： 本站評分..4.9/10 ( 7票 ) 詳細

IMDb評分6.1/10 ( 7993票 ) 詳細

顏 色： 彩色

聲 音：

時 長： Canada:87 min (Toronto International Film Festival) / USA:87

類 型： 喜劇 恐怖

分 級： 紐西蘭：R13 美國：還未分級
·瘋羊劇情介紹
生活在紐西蘭牧場的兩兄弟奧利弗（馬修·張伯倫飾）和安吉斯（彼得·費尼飾）過著相安無事的日子，好吃懶做的安吉斯一心想讓羊群「優生優育」，以賣出好價錢，於是瞞著奧利弗給公羊注射了一種催生劑。從此，溫順的綿羊變成了兇猛的肉食動物……

Ⅳ 哪些電影是在紐西蘭拍攝的

電影《意味深長》/《聖煙》/《天使與我同桌》/《天堂造物》/《厄夜三十》/《納尼亞傳奇》/《鯨騎士》.
《鋼琴課》問鼎當年戛納金棕櫚大獎。
《戰士奇兵》是一部關於家庭矛盾的電影
《雨》中的這位主人公可以說要幸福得多。有一個疼愛她的丈夫，一對健康成長的兒女，她們一起住在寧靜的海邊，過著衣食無悠的生活。然而，她一樣是苦悶的。整天無所事事，讓她失去了生活的目標。只有沉浸在每夜的狂歡里，用酒精麻醉自己...

Ⅵ 紐西蘭電影whale的英文讀後感

摘自IMDB：
Truly a film for the entire family to enjoy together.
21 March 2004 | by allisonmckinley ([email protected]) (Yorkshire, England) – See all my reviews
正文：
If you have lost your belief in magic, perhaps this is a tale you need to hear about a film you need to see. It is the story of a thirteen-year-old girl, a class clown, a show-off. When strangers invaded her classroom one day, she continued to do what she was used to doing, playing the fool, thus attracting the strangers' attention.

The strangers cast her as the lead in a film. Though it looked like a small film to begin with, it turned out to be an international blockbuster. Then one day, she read in the newspaper that she had been nominated for the most prestigious acting award in the entire world. Her first acting performance had catapulted her from obscurity to the winner's circle, in competition with Diane Keaton, Samantha Morton, Charlize Theron and Naomi Watts for Best Actress in a Leading Role.

Keisha Castle-Hughes is the youngest person ever to be nominated for best actress by the Academy of Motion Picture Arts and Sciences. Anna Paquin, discovered by the same casting agent, won an Oscar in 1993 for The Piano, but that was for Best Actress in a Supporting Role. Yet she was not the youngest. In 1973, Tatem O'Neal won for Paper Moon at the ripe old age of ten.

So, we have established that fairy tales can still come true, but not without the proper vehicle, and I do not mean a pumpkin drawn by white mice. The vehicle in this instance is a very carefully designed and orchestrated film. And where do great films start? With the writer(s), of course.

Another fairy tale? Witi Ihimaera is the first Maori writer ever to have published both a book of short stories and a novel. He says he was sitting in his New York home one day overlooking the Hudson River when he saw a whale breach the waterline. A whale in the Hudson River? Mr. Ihimaera took it as a sign.

Inspired by stories of ancient tradition that streamed into his mind, over the next three weeks, Mr. Ihimaera wrote The Whale Rider. It is this one work of his that the Maori community accepts as being most representative of their culture, and the novel that became the backbone for the screenplay for the film Whale Rider (co-written by Witi Ihimaera and director Niki Caro).

Maori legend tells of a great man, Paikea, who came many ages ago riding o n the back of a whale and landed on the shores of a new world. He left word that someday another great whale rider would be born to lead the Maori people.

The film begins with a scene in a hospital of a young woman giving birth to twins. The boy is stillborn. With her last breath, she whispers to her husband, `Paikea, Paikea.' The remaining girl child is blessed with that name as the mother dies.

Paikea's father, Porourangi (Cliff Curtis), crushed by the loss of his wife, departs his homeland, leaving Paikea in the caring hands of his parents, Koro and Nanny Flowers. `Pai' grows and becomes strong in the teachings of her people, yet she hears an inner voice as well.

Koro, her grandfather, is the chief of his people. When he sees that his son will not return, he begins to train the local boys in the ways of leadership. Pai believes that she could become the leader of her people, but her grandfather, though he loves her, rejects her.

Pai cannot be daunted; she is tougher than any of the boys. She hides around corners and eavesdrops as the boys are trained, learning the lessons, dance, movements and traditional ceremonies of her people.

Once he feels they are ready, Koro takes the boys out in a boat on the ocean and here he removes the carved whale's tooth, symbol of the chief, from around his neck, tossing it into the water. Though they try, none of the boys is able to retrieve it.

Here, the film takes a turn, one that is somewhat unexpected, and one that sets this film apart from the run of the mill. As part of a school pageant, Pai has written a work in honor of her people and has asked her grandfather to attend. It is this performance of the young woman that tests her skills as an actress, and is certainly one of the most touching moments in the film.

The rest of the film does not hinge so much on whether Pai's grandfather attends her performance or not. Something else occurs. Seven whales have beached themselves on the shore. Paikea has called the whales and they have responded to her call. As the people of the village struggle to help the whales return to the ocean before they die, Koro's other son shows him the carved whale's tooth.

`Which of the boys got it?' Koro asks. His son tells him it wasn't one of the boys. `It was she,' he says, pointing to Paikea, now sitting on the back of the biggest of the whales.

There is a very big difference in a film made for twelve-year-old girls and a film about a twelve-year-old girl, especially one on the threshold of womanhood. This is a film about traditions, about beliefs, about growing up, about magic, and about love.

Director Niki Caro transcends ordinary film making with Whale Rider. The film played to standing ovations at both the Toronto and Sundance film festivals, and with good reason. It is not a film that tells us anything is possible. It shows us. It does not sink into despair over the disappearing way of life of the Maori people. It shows us that any group of people, any tribe or village, any nation, can survive and even prosper if we rely on what we feel in our hearts.