巴黎一夜

简介：雪莉需要抓住一个凶手，以证明她在兄弟的谋杀中是清白的。一路上，她遇到了爱、悲伤和起诉。当她终于意识到自己的命运时，开启一段自我认知之旅。

简介：在南印度的一个偏远村庄，101岁的Century Gowda去世了，他的三代子孙们有着不同的反应。儿子Gadappa是一位老头子，总是抽着便宜的烟，喝着白兰地，每天无所事事地穿梭在田野间；同时孙子Thamanna是个见钱眼开的小贩，筹划着非法卖掉Century Gowda的五英亩地；曾孙Abhi是个阳光自信的青年，不屈不挠地追求着一个牧羊女孩。三条故事线索交织着，聚合在Century Gowda死后第十一天的葬礼上。

简介：史标曼（艾德里安•布洛迪 Adrien Brody 饰）是波兰一家电台的钢琴师。二战即将爆发之时，他们全家被迫被赶进华沙的犹太区。在战争的颠沛流离中，家人和亲戚最终被纳粹杀害，而史标曼本人也受尽种种羞辱和折磨，他侥幸得到一位朋友的帮助，暂时有了藏身之处。战争愈加猛烈，朋友不得不抛下他回老家寻得安全的住所养育儿女。此时史标曼恶病缠身，却还要在搜捕中逃亡。在废墟的阁楼上他遇见了一名德国军官，在军官的要求下他弹奏了钢琴曲。美妙的琴声令德国军官萌发了恻隐之心，他暗暗帮助史标曼直到苏军对波兰的解放到来…… 影片根据波兰钢琴家瓦拉迪斯罗•斯皮曼(Wladyslaw Szpilman)的自传体小说《死亡城市》改编。

简介：一个盲人男孩，因为悦耳的钢琴声，被楼上的姑娘吸引，两人互生好ccc。姑娘自称是塞任（美人鱼）的后代，需要定期吃人才能永葆青春，否则迅速变老、死亡。但最终她放弃了加害男孩的念头，默默离开，独自承受死亡。

简介：一名议员被暗杀，凶手也当场死亡，3年后，当时的目击者陆续“正常”地死去，华伦·比提饰演的记者起初不以为然，但很快他也陷入危险中……　　本片是部70年代政治题材的影片，它让我们一睹了政治权力之争的幕后玄机，全片气氛控制极好，情节扣人心弦，结尾更是出人意料。华伦·比提荣获1992年金球奖最佳男演员。

简介：番王举兵犯晋，与晋丹凤公主阵上交锋，间惊鸿一瞥，欲娶为妃，遂以屠城要胁，令凤立即过营成亲，参军龙秀云与凤两情相悦，大力反对。晋将虎啸风为免生灵涂炭，假意劝凤就范，实则在番营暗埋炸药，计划于番王大婚之日杀敌。凤、云以为风媚敌求荣，潜往秦国借兵抗敌，途中被风截获，云无奈送凤过营。番邦郡主倾慕云，欲结成眷属，云乘机唆使番王兄妹同日成婚，并借词回国打点婚礼，部署反击，岂料事败，引起两邦血战，风负伤引爆炸药，番兵溃败，云、凤终明白风苦心。

简介：某日，中国东海最深处显现出了一个与世隔绝的美丽小岛。渐渐地开始有好奇者登岛，凯迪的好姐妹也在半个月前随着“驴友”决定探险。一周之前，一个看似寻常却又诡异的微信邀请将凯迪、青云、Rocky、米娅、波仔聚在一起，在船老大的带领下来到风景宜人的东临岛。五人一行看似顺风顺水，却不知危险已悄然降临。空无一人的海岛、太阳西升东落、茂密的爬行绿藤、滴着粘液堆着白骨的“山洞”、冒着仙气却能蚀骨的碧潭以及波仔的离奇死去，一切现象令人匪夷所思。“神秘人”的突然出现及忠告把他们彻底推向了近乎疯狂的恐惧之中，但众人已陷入一个无法退出的“死亡岛屿”。这个岛究竟从何而来，“神秘人”究竟是谁？凯迪和青云又是否能安全离开，随着真相的层层推进一切都令人更加毛骨悚然……

简介：一个男人坐在一间房间的床上，身边的包里是数以万计的美ccc。房间里火焰四起。这个人却仿佛全然不知，吹着一只爵士小号……r　　他叫丹尼·帕克，一个被悲剧改变了的、失去了方向的人。丹尼的妻子无辜惨死于毒贩子手下。目睹这悲惨一幕的丹尼从此生活在绝望和孤独中，然而为妻子复仇的愿望使他支持了下去。在洛杉矶外围有个湖名叫“沙顿海”，是全美最低的地方。这湖周围弥漫着让人毛骨悚然的气氛，这里也是不为外人所知的毒贩子和吸毒者的世界。丹尼混入了这个充满诡计和危险的怪异世界，试图为妻子报仇。同时他还为警方担任线人。r　　然而警察并不知道他并不是真的毒品贩，他身边一伙人也不知道他为警方做事。当然更没有人知道他心里到底在想什么。然而这并不是个简单的世界。每个人都跟他们表现出来的不一样。在曲折回环中丹尼不仅要寻找机会做自己要做的事，还要艰难地探询自己到底是谁。在失去妻子以后他的世界不再有意义，他自己仿佛也没有了确切的身份。在这个地下的世界中，丹尼因为帮助脆弱的邻居，体会到了他以为已经绝迹的温柔。他带着自己的小号，在毒品，欺诈，暴力，血腥中，在爵士乐的哀婉与变化中，逐渐接近自己的最后命运。

简介：Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence.  Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles.  Magdalena lives with her adopted parents and works in an art gallery.  The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch.  Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date.  The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride.  The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled.  Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert.  The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

简介：民国时期。　　京城四醉汉赵大满（姜武）、钱二宝（柳云龙）、孙三强（张悦）和李标（何冰）目睹进步知识分子及其女儿被杀于街头，愤慨打死凶手，闯下大祸——死者是京城汉奸恶霸姜十七的独子。四人逃避姜家众打手时，意外收到姜府总管（任鸣）送来的钞票和姜府地形图，虽不解其用意，但决定立刻杀掉姜十七。　　行动一刻，赵标得知老婆孩子被姜十七绑架，孤身来到姜府身陷囹圄，赵大满则因极度恐慌躲进一家小店甘被风流老板娘收留。钱二宝与张三强等不来兄弟回头寻找，再遇姜家打手，危急十分得姜十七徒弟欧阳洁丹（袁茵）相救，才知姜府总管用意，他原想借刀杀人好霸占姜家财产。三人其后来到钱二宝家乡，但姜家众打手也尾随而至，一场恶战随即展开。

简介：阿虎是一个自由搏击拳手（刘德华 饰）。他抱着“打假拳”的心态代表香港到泰国参加了比赛，完全没想着要胜出比赛。阿虎在泰国与女摄影师阿萍相遇，两人相处后产生了感情。阿虎在比赛时无心恋战中途弃权，对手察差却故意挑衅。阿虎被激怒后错手将对手打死了，结果阿虎被判入狱13年。　　出狱后，阿虎急着寻找阿萍，但原来阿萍已经去世了剩下了为阿虎生下的女儿Poly。阿虎便极力寻找下落不明的女儿。过程中他认识了孤儿院院长霗（常盘贵子 饰），这位年轻的院长帮他找到了女儿。性格同样倔强的Poly十分不满父亲抛弃她们母女，阿霗从中调解。女儿要求阿虎能胜出拳赛，才会遇阿虎和好。后来又有人认出了阿虎是当年的杀人犯……

简介：The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.　　The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.　　Gila Almagor in Tofano's siege is one of the first characters of the modern war widows to appear on Israeli cinema screens.　　The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.　　It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief.　　Siege was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.　　Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.　　This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.