小花 1979

简介：Brooke Shields, ’80s icon and household name, was a child model before she came to prominence in Louis Malle’s controversial film Pretty Baby at age 12. With a series of provocative Calvin Klein jeans ads and leading roles in 1980s teensploitation hits The Blue Lagoon and Endless Love, Shields’ early career was defined by a sexuality that she could neither claim nor comprehend....

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以坚守美食传统为傲的老字号饭店春阳阁，却传出将要停业关闭的消息。享有“国际级主厨”名号的章恩（金正恩 饰）在国外打拼多年，即将回国大展拳脚的她极力主张母亲关掉这家陈年老店。为了坚守住“妈妈料理”的美味记忆，退隐食界的料理天才盛灿（秦久 饰）在探访春阳阁后，决心参加泡菜大战与章恩正面对决，打消她欲将春阳阁关闭的念头。这场关乎老店春阳阁生死存留的美食之争，旋即在让人大开眼界的百余种泡菜料理中展开。
本片继2007年上映的《食客》，再次打造出一部人气超高的国民级美食电影。影片改编自由许万英创作的漫画原著《食客》

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黛博拉·钱德勒的追求者塞尔登·克拉克被拒绝了，他管理着她父亲的工厂。她父亲去世了：他是坠楼身亡还是被推下去的？但魅力十足的克拉克成功赢得了她的芳心，并娶了她。蜜月旅行期间，克拉克的前女友帕特里夏介入，打开了黛博拉的眼睛，可惜为时已晚。现在，克拉克试图杀死黛博拉。除了克拉克，所有人都认为她已经死了，于是她逃走了。但流浪汉基思·拉姆齐认出了她，并跟踪了她。她能相信他吗？他能相信她吗？

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五位性格迥异的年轻人在前往臭名昭著的“红树林屠杀者”所在地的旅途中迷路了，最终……

简介：陈大明是一个现代都市中的“普通青年”。他颜值普通，收入普通，没啥梦想，没啥追求。由于长期缺乏女人缘，使他对自己的性向产生了怀疑。女人不喜欢自己，自己也不知道喜欢什么样的女人，难不成，找个男人才是最终归宿？于是，陈大明在一群不靠谱的狐朋狗友的帮助下，开始了对新世界的探索。一番探索下来，陈大明没搞清楚自己的性向，却在职场上尝到了甜头，原来之前不吃香竟是因为“太直”了……　　谁知，一位腐女上司的出现打乱了陈大明变弯的计划，甚至让他找到了恋爱的感觉。现在，陈大明的生活彻底拧巴了，是直成铅笔？还是弯成蚊香？是坦白身份大胆追求？还是维持一段虐心之恋？面对四射基情，又该如何脱身？至此，理解与被理解，尊重与被尊重，爱与被爱，变成不再简单的谜题，“真心”等待着在慢慢梳理中被重新发现，勇敢面对，相互包容......

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 一年一度的农历春节来临，生活在东北农村的程家老两口（李保田 & 赵丽蓉 饰）满心欢喜地等待儿女回家过年。去年的团圆饭不...

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《星光》包含“扶老”“助残”“救孤”“济困”4个篇章，以福彩公益受助者的真实故事为基础，以艺术的方式加深受众对福彩公益的认知。

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汤姆·赛格拉直捣观众的笑穴，荤腥不忌地畅谈父母和追寻梦想的故事，还有许多我们宁可不去想像的事情。

简介：影片故事背景一如上集，主要人物布迪警长亦由上集的罗伊·谢德扮演，但是今次出现肆虐艾密迪海滩的大白鲨，却是一条满含恨意，一心前来报“杀夫之仇”的母鲨。

简介：三名年轻女子前往旺代省度假，期间她们办公室主任的出现，导致她们兴致全无，却变成折磨的痛苦。

简介：The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.　　On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.

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一群十几岁的少年庆祝一个本地连环杀人犯的忌日，突然发现他们自己与这个困扰的城市传说的现实面对面。