新西兰英文电影

Ⅰ 问一部新西兰电影的名字

《神秘群岛》，黛米摩尔主演。

请采纳

Ⅱ 新西兰拍过啥电影

《魔戒3部曲》(Lord Of Rings)
《纳尼亚传奇》影片大部分取景在新西兰弗洛克山.奥克兰 .克赖斯特彻奇 .奥奥马鲁.等等
极小部分在捷克.布拉格.英国 .伦敦.

Ⅲ 有哪些推荐的新西兰电影

推荐《指环王》

这部电影是根据英国作家、语言学家、牛津大学教授约翰·罗纳德·瑞尔·托尔金创作的长篇奇幻小说改编而成的。是一部一经上映就成为经典的作品。而这部电影也为新西兰的电影史增加了浓墨重彩的一笔。

新西兰一直是一个让人感觉很清新干净的国家，指环王的出现给这个国家又增加了不少神秘的色彩和让人神往的力量。

电影中，主角弗罗多的故乡夏尔(Shire)，一个风光怡人充满悠闲田野风情的哈比村，借景就来源于新西兰北岛怀卡托平原农牧区的玛塔玛塔 （Matamata）市区外的一个小农庄霍比屯。本来已经拆除了大部分，但是《霍比特人》的拍摄，让霍比屯得以重新修复，并可以长久保留，所以这部电影对于这个地方也有着十分重要的意义。

第二个地点就是皇后镇，电影中有一幕，当逃出地底矿区后，魔戒远征队怀着悲伤的心情来到了精灵王国所在的罗斯洛立安森林，在这里，美丽的精灵女王告诉弗罗多，他的冒险旅程将会是孤独的。这个森林的取景地就是皇后镇。

Ⅳ 求一部美国恐怖片名字，讲的是一群会吃人的绵羊

英文名： Black Sheep

中文名： 疯羊

导 演： ( Jonathan King )

主 演： (Nathan Meister) ( Danielle Mason) ( Peter Feeney) ( Tammy Davis) ( Glenis Levestam) ( Tandi Wright) 疯羊全部演员表

上 映： 2007年06月22日 美国 详细上映地区

地 区： 新西兰 更多详细拍摄地

对 白： 英语

评 分： 本站评分..4.9/10 ( 7票 ) 详细

IMDb评分6.1/10 ( 7993票 ) 详细

颜 色： 彩色

声 音：

时 长： Canada:87 min (Toronto International Film Festival) / USA:87

类 型： 喜剧 恐怖

分 级： 新西兰：R13 美国：还未分级
·疯羊剧情介绍
生活在新西兰牧场的两兄弟奥利弗（马修·张伯伦饰）和安吉斯（彼得·费尼饰）过着相安无事的日子，好吃懒做的安吉斯一心想让羊群“优生优育”，以卖出好价钱，于是瞒着奥利弗给公羊注射了一种催生剂。从此，温顺的绵羊变成了凶猛的肉食动物……

Ⅳ 哪些电影是在新西兰拍摄的

电影《意味深长》/《圣烟》/《天使与我同桌》/《天堂造物》/《厄夜三十》/《纳尼亚传奇》/《鲸骑士》.
《钢琴课》问鼎当年戛纳金棕榈大奖。
《战士奇兵》是一部关于家庭矛盾的电影
《雨》中的这位主人公可以说要幸福得多。有一个疼爱她的丈夫，一对健康成长的儿女，她们一起住在宁静的海边，过着衣食无悠的生活。然而，她一样是苦闷的。整天无所事事，让她失去了生活的目标。只有沉浸在每夜的狂欢里，用酒精麻醉自己...

Ⅵ 新西兰电影whale的英文读后感

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.