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改編自真實事件，描述二戰發生前，納粹女子學院所發生的間諜事件。校園中出現一位前任教師的屍體，讓英籍教湯瑪斯陷入致命危機。是湯瑪斯殺害了這位前任教師？還是真兇另有其人呢？片長：99分上映日期：2021/01/27 导演: 安迪·戈达德编剧: 安迪·戈达德 / 艾迪·伊扎德 / 塞林·琼斯主演: 朱迪·丹奇 / 詹姆斯·达西 / 吉姆·布劳德本特 / 艾迪·伊扎德 / 大卫·斯科菲尔德 / 更多… 类型: 剧情制片国家/地区: 英国语言: 英语上映日期: 2020–10–15(俄罗斯) / 2021–03(英国) 片长: 99分钟又名: Six Minutes to Midnight / 午夜密令(台) IMDb链接: tt5114840

劇情介紹 ★ 撼動人心真實事件改編，《黑夜看守人》、《舞娘辣辣隊》製作團隊打造！ ★ 不安寧的納粹女子學院，夾於英德一觸即發的戰爭！ ★ 人氣影集《唐頓莊園》導演安迪戈達德震撼執導！ ★ 奧斯卡、金球獎得主茱蒂丹契化身正義女校長，為守護學生挺身而出！非常時期人人自危，間諜就在你身邊 1939年夏天，希特勒的力量不斷增強，英德之間的緊張關係正處於沸點。一間位在英國南部海岸、專收納粹高官女兒的奧古斯塔維多利亞女子學院，嚴格遵循著希特勒的納粹思想。英籍校長羅喬爾（茱蒂丹契飾演）僱用英籍教師湯瑪斯米勒（艾迪以札德飾演）作為臨時教師；湯瑪斯並在校長與其他德籍教師們的監視下，教導這群女孩練習英語。這時，校園中出現一位前任教師的屍體，也讓湯瑪斯陷入致命危機。究竟是湯瑪斯殺害了這位前任教師？還是真兇另有其人呢？【關於電影】《午夜密令》由曾執導過《一種謀殺》（A Kind of Murder）與《唐頓莊園》（Downton Abbey）影集的安迪戈達德（Andy Goddard）擔任導演，並請來奧斯卡與金球獎得主茱蒂丹契（Judi Dench）、《瞞天過海：13王牌》（Ocean’s Thirteen）艾迪以札德（Eddie Izzard）、《銀翼殺手2049》（Blade Runner 2049）卡菈尤利（Carla Juri），以及《敦克爾克大行動》（Dunkirk）詹姆士達西（James D’Arcy）等人領銜主演。本片改編自1939年震撼人心的真實事件，描述一位偽裝成教師的英國探員，臨時接下具有爭議性的任務，必須前往一所位在英格蘭南海岸的奧古斯塔維多利亞女子學院，向納粹高官們的女兒教授英語。在校長與其他教師們的監視下，這群女孩練習英語，並學習如何展現德國女性的典範。不過當校園中發現一位前任教師的屍體時，引發一連串的致命事件，迫使這位英國探員在被冠上謀殺罪名、甚至將被處以絞刑的威脅下，試圖逃離警方的追捕。值得一提的是，片中這所奧古斯塔維多利亞女子學院，其實真實存在於英國的濱海貝克斯希爾（Bexhill-on-Sea），與德國只相隔一道海峽。1932年至1939年間，在英德聯盟暫時維持和平的協議下，這所學校專門教授德國女孩，直到二戰爆發時才關閉；其中包括海因里希希姆萊（Heinrich Himmler）、約阿希姆馮里賓特洛甫（Joachim von Ribbentrop）等納粹高官的後代，都曾就讀過這所學校。身兼本片男主角與編劇的艾迪以札德，當他受邀來到貝克斯希爾時，他注意到這所學校的校徽，一邊是納粹黨徽，一邊則是英國國旗，這個既醒目又令人不安的圖案，激起了他的好奇心，也進而激發出本片的創作靈感。他想以人類史上最震撼的事件作為背景，探索英國南海岸上，這個曾經存在過些許納粹痕跡的世界。直到他在坎城遇到本片另一位演員賽林瓊斯（Celyn Jones），並向他提出這個構想後，這項拍片計劃才得以實現，兩人也找來導演安迪戈達德共同打造出本片的精彩劇本。

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In 1889, on November 1 in Gotha, Germany Anna Therese Johanne Hoch, who later would be known as Hannah Hoch was born. Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and The Owners freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is The Owners in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. I enjoyed working with this artist as her example is inspiring and is worth following

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