出生证明
影片信息
- 状态：HD
- 主演：Andrzej Banaszewski/Beata Barszczewska/马里乌什·德莫霍夫斯基/
- 导演：斯坦尼斯拉夫·罗泽维格/
- 年份：1961
- 地区：其它
- 类型：战争/
- 时长：内详
- 上映：未知
- 语言：其它
- 更新：2025-07-04 04:31
- 简介： In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth." The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era. The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved. The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair. At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance? Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'." After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others. In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
- 0
关注公众号观影不迷路
扫一扫用手机访问
2.0
网友评分
90次评分扫一扫用手机访问
剧情简介
In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth." The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era. The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved. The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair. At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance? Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'." After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others. In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
为你推荐
换一换- TC朱一龙/吴磊/倪妮/杨皓宇/陈明昊/倪大红/威廉·弗兰克林-米勒/李九霄/王奕权/李卓钊/
- TC国语9.0刘昊然/王传君/高叶/王骁/周游/杨恩又/原岛大地/王真儿/杨皓宇/刘亦淳/
- HD4.0吴承轩/江水/刘芯予/王紫垣/
- HD中字8.0 戴文·萨瓦/Yael Eitan/阿摩司·塔玛姆/阿莫里·诺拉斯科/杰夫·皮埃尔/
- HD2.0 克里斯托·日夫科夫/Desislava Tenekedjieva/桑德拉·切卡莱利/
- HD6.0 加斯帕·曼尼斯/拉斐尔·费伊特/弗朗辛·拉塞特/斯坦尼斯拉斯·卡雷·德·马尔博格/菲利普·莫里尔-热努/弗朗索瓦·贝莱昂/弗朗索瓦·尼格雷特/彼得·菲茨/伊莲娜·雅各布/阿诺·翁利叶/勒内·布洛克/Pascal Rivet/Benoît Henriet/Richard Leboeuf/Xavier Legrand/Jean-Sébastien Chauvin/Luc Etienne/
- HD8.0乔尔·麦克雷/拉雷恩·黛/赫伯特·马歇尔/乔治·桑德斯/艾尔伯特·贝瑟曼/
- HD9.0 加里·库珀/英格丽·褒曼/Akim Tamiroff/Arturo de Córdova/Vladimir Sokoloff/
- HD3.0 亨利·托马斯/格雷厄姆·格林/比尔·萨奇/Lorraine Farris/
- HD10.0 科林·法瑞尔/杰米·西弗斯/帕斯·贝加/凯利·蕾莉/布兰科·德约里奇/Mozaffar Shafeie/Kae Bahar/路易斯·卡叶赫/Alex Spijksma/伊恩·麦克尔希尼/茱丽叶特·斯蒂文森/Michelle Hartman/艾琳·沃尔什/尼克·邓宁/克里斯托弗·李/
- HD9.0 米拉·乔沃维奇/达斯汀·霍夫曼/费·唐纳薇/约翰·马尔科维奇/文森特·卡塞尔/帕斯卡尔·格雷戈里/安德鲁·伯金/罗伯特·甘特/切基·卡尤/John Frederick/戴斯蒙德·哈灵顿/
- HD6.0 Sebastian D. Fischer/Anna Kaminski/Sandro Kirtzel/Lana-Mae Lopicic/Nora Carla Pichler/
- HD2.0 大卫·加纳/哈维尔·古铁雷斯/弗朗西斯•洛伦索/茵玛·奎斯塔/Miryam Gallego/罗伯托·阿拉莫/Pepa Aniorte/Santiago Molero/夏比尔·伊洛利亚嘉/何塞·安赫尔·艾力格/吉尔莫·卡帕拉/帕特里克·克里亚多/Martina Klein/马里亚诺·佩尼亚/Antonio Molero/斯塔尼·科佩/威廉·米勒/艾克萨维尔·拉菲特/霍安·科洛萨斯/Jean Dominikowski/
- HD4.0 阿尔多·法布里齐/安娜·马尼亚尼/马塞洛·巴格利埃罗/维托·安尼基亚里科/南多·布鲁诺/哈里·法伊斯特/乔瓦纳·加莱蒂/弗朗切斯科·格朗雅克特/Eduardo Passarelli/玛丽亚·米琪/Carla Rovere/Carlo Sindici/Joop van Hulzen/Ákos Tolnay/Caterina Di Furia/图里·潘多尔菲尼/Alberto Tavazzi/
- HD6.0加斯帕·克里斯滕森/安德斯·巴斯莫·克里斯蒂安森/卡尔·马克维斯/图娃·诺沃妮/卡塔琳娜·舒特勒/埃里克·黑维尔/斯韦恩·廷德贝里/茱莉安·柯勒/安德烈·鲁斯特/罗尔夫·克里斯蒂安·拉森/
- HD9.0 Gediminas Adomaitis/阿纳托利·比利/谢尔盖·别兹鲁科夫/Svetlana Metkina/斯坦尼斯拉夫·杜任科夫/
- HD2.0 Vian Singleton/Francois Jacobs/利瑟·范德沃尔特/埃里卡·韦塞尔斯/Richard Lukunku/大卫·杜卡斯/Meren Reddy/埃德温·范德萨/
- HD中字1.0 Sebastian D. Fischer/Anna Kaminski/Sandro Kirtzel/Lana-Mae Lopicic/Nora Carla Pichler/
- HD4.0 乔吉斯·伯乔利/布丽吉特·佛西/阿梅代/洛朗斯·巴迪/丹尼斯·佩罗讷/玛德莱娜·巴尔比莱/吕西安·于贝尔/雅克·马兰/Suzanne Courtal/Marcel Mérovée/Violette Monnier/Fernande Roy/Louis Saintève/André Wasley/André Enard/Marcelle Feuillade/Roger Fossey/Louis Herbert/
- HD8.0露比·欧·菲/爱丽丝·德维尔/马克斯·毛夫/
- HD2.0 塞巴斯蒂安·科赫/乌尔里希·图库尔/哈代·克鲁格/克里斯托弗·布赫霍尔茨/尼娜·昆岑多夫/斯特凡妮娅·罗卡/阿克塞尔·米尔伯格/Olli Dittrich/Katharina Rivilis/Karl-Heinz von Liebezeit/Michaela Wiebusch/Michael Lott/Christine Sommer/索斯藤·默滕/尤沃钦·毕斯梅尔/
- HD9.0 弗朗索瓦·莱特瑞尔/查尔斯·勒克莱恩/莫里斯·贝尔布洛克/罗兰·英纳德/雅克·埃尔托/Jean Paul Delhumeau/Roger Treherne/Jean Philippe Delamarre/Jacques Oerlemans/Klaus Detlef Grevenhorst/Leonhard Schmidt/罗杰·普朗肯/André Collombet/César Gattegno/Max Schoendorff/
- HD3.0汤姆·汉克斯/汤姆·塞兹摩尔/爱德华·伯恩斯/巴里·佩珀/亚当·戈德堡/范·迪塞尔/吉奥瓦尼·瑞比西/杰瑞米·戴维斯/马特·达蒙/特德·丹森/保罗·吉亚玛提/丹尼斯·法里纳/马克斯·马蒂尼/丹兰·布鲁诺/丹尼尔·切尔奎拉/迪米特里·格里特萨斯/史蒂夫·格里芬/彼得·迈尔斯/亚当·肖/罗尔夫·萨克森/克里·约翰逊/洛克兰·艾肯/尚恩·约翰逊/莱尔德·曼辛托斯/安德鲁·斯科特/马修·夏普/文森特·沃尔什/约翰·沙拉恩/马丁·哈伯/罗非洛·迪格托勒/恩里奇·雷德曼/米歇尔·埃文斯/内森·菲利安/利兰·奥瑟/大卫/
- HD1.0阿萨·巴特菲尔德/维拉·法米加/卡拉·霍根/祖萨·霍尔/安贝尔·比蒂/拉斯洛·阿隆/大卫·休里斯/理查德·约翰逊/谢拉·汉考克/伊凡·弗雷贝利/贝拉·费斯彼姆/阿提拉·埃杰德/鲁伯特·弗兰德/大卫·海曼/吉姆·诺顿/杰克·塞隆/米哈利·绍鲍多什/泽索特·萨法尔·科夫卡/奥索利亚·茱莉娅·帕普/
- HD3.0连姆·尼森/本·金斯利/拉尔夫·费因斯/卡罗琳·古多尔/乔纳森·萨加尔/艾伯丝·戴维兹/马尔戈萨·格贝尔/马克·伊瓦涅/碧翠斯·马科拉/安德烈·瑟韦林/弗里德里希·冯·图恩/克齐斯茨托夫·拉夫特/诺伯特·魏塞尔/维斯瓦夫·科马萨/
- HD10.0李东学/胡雪儿/周波/山崎敬一/杨明娜/于波/张皓承/王泽宗/韩东起/佟意/潘洪岑/宋一/岳冬峰/
- HD10.0 艾历克斯·休·安德森/帕特里夏·舒曼/詹姆斯·特拉佩/达妮卡·/库尔西奇/马德斯·瑞艾森/范妮·博内代尔/Malene Beltoft Olsen/延斯·塞特·拉森/克里斯蒂安·伊伯勒/Alban Lendorf/Joen Højerslev/
- HD8.0香取慎吾/高良健吾/片冈爱之助/国村隼/渡边一计/岛田久作/中村育二/市原隼人/平岩纸/景井ひな/伊武雅刀/山本学/
- HD6.0 Veronique Vandeven/Noufissa Benchehida/Aziz Dhiouer/
- HD7.0 Vasiliy Bashmakov/伊凡·巴塔列夫/Dmitriy Blokhin/亚历山大·布哈罗夫/Nazar Denisov/阿拉·伊明兹瓦/Anastasiya Fomina/安德烈·弗洛洛夫/瑟吉·古班诺夫/阿纳托利·科特/尼古拉·科扎克/玛丽亚·米罗诺娃/Arslan Murzabekov/格里戈利·涅克拉索夫/伊利亚·诺斯科夫/