四喜临门

简介：忧郁的星期一早上，身为银行职员OL的“我”开始了这一周。忍受着困倦、认真地化好妆出门，挤着满满都是人的地铁，在距离公司最近的地铁站和关系最好的同事真纪会合了。她和“我”价值观相近，聊天的时候经常会聊得很投入。在公司更衣室和后辈纱英、已经进入公司8年的小峰、和进入公司10年的酒木一起，我们进行着上班前五花八门的漫谈。

简介：两名女传教士被引诱到一个古怪危险的男人家里，试图改变他的信仰，开启了一场猫捉老鼠的游戏

简介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

简介：一位埃及考古学者在研究过程中发现了一样奇怪的东西，从而引起人们的反对，相关部门为了平息风波，将考古学者软禁起来，没有人知道究竟是什么东西？七十年之后，考古学者依然活着，他希望自己可以赶快结束生命，照顾他的女孩也开始了解这个秘密，人们的正常生活也发生了变化……

简介：明朝中期，宫中一本绝世《按摩天书》流入民间！传说，得到此书，可在按摩界呼风唤雨，治病救人；同时亦可激发心魔，控制他人，敛取财物；清朝末年，《按摩天书》流落海aaa。按摩师秦飞学成绝世按摩手法，到泰国继承《按摩天书》，打算带回祖国发扬中医按摩手法；却遭遇魏教授集团抢夺天书，杀害同门，利用尸毒控制按摩师。此时，师妹文君遭到魏教授集团绑架，身中剧毒；秦飞为救师妹，无奈让《按摩天书》重现江湖。

简介：《美人与流血事件》是由奥斯卡获奖者、电影制片人劳拉·珀特拉斯执导的纪录片。娓娓道来国际知名艺术家、社会活动家南·戈尔丁史诗般的人生经历。劳拉·珀特拉斯通过与戈尔丁的私密采访、以及她组织的抗议活动的照片和录像来讲述戈尔丁一段具有开创性意义的斗争经历，其中也记录了许多关于戈尔丁的珍贵影像，包括她加入活动团体PAIN，帮助沉迷于止痛药的人们走出困境，与止痛药生产商萨克勒家族的作斗争。这个家族通过销售止痛药奥施康定，赚取了数十亿美元。

简介：1918年，在一个拘留营里，一群芬兰演员被判处死刑。当一个重要的德国将军到达营地时，他们被告知如果能使将军欢笑，他们就能活命。

简介：他们一直以为这个故事是大人讲来骗小孩子的，直到他们在野外游玩时亲眼见到了黑魔王的出现，并被黑魔王中下不可挽回的魔咒。

简介：一组老练的雇佣军发现自己被美国政府出卖，被迫卷入战斗…

简介：比利怀特自小热衷棒球，在球场上表现优异，并得到邻居大姊凯蒂的鼓励，誓以棒球为终身的事业，凯蒂的关爱，使她与比利之间建立起情同姊弟又如知己的友谊。　　比利因一次球赛失利而灰心丧志，遂放弃棒球球往大城市谋生，并与一女侍同居，过着混混噩噩的日子，某日接获母亲来电得知凯蒂因意志消 沉自杀，遗书中指名骨灰由比利负责处理，比利束装返乡，见得老友艾普比再度重返球场，并将凯蒂骨灰下葬，然而旧日一切早已不堪回首......

简介：高中时期的情侣海莉（凯贝尔饰）和罗布（罗里格饰）在考古研究小组的发掘现场相遇，该小组目前正在大烟山国家公园的野外工作。罗布立即尝试与海莉重新建立联系并重新点燃他们的浪漫之火，但海莉还没有完全摆脱罗布的背叛。在他们大四的时候，海莉申请了一项研究经费，但最终授予了罗布而不是她。从那以后，两人就没有说过话，但现在海莉决心保持专业，因为她和罗布在这个令人兴奋的挖掘现场一起工作。两人最终因对自然和历史的共同热爱而重新建立联系，一起探索公园。但是当海莉在一个洞穴中发现象形文字，可能会导致神秘的切罗基钻石的存在时，罗布努力跟上她冒险的天性。让他们的关系变得更加复杂的是，他们发现他们再次竞争同样的研究经费。他们一起努力，终于找到了洞穴，并慢慢意识到旅程也许比目的地更重要——而爱比任何研究资助都更有价值。

简介：樱花飞舞的都立瑞泽高中，迎来了热爱花牌的女孩绫濑千早（广濑丝丝 饰）。小学时代，千早受转学生绵谷新（真剑佑 饰）的影响接触了花牌竞技，从此便一发不可收拾。进入高中后，她重逢了当年与她、绵谷一同参加比赛的真岛太一（野村周平 饰），于是两人联手创立了竞技花牌部。除她们二人外，还有大江奏（上白石萌音 饰）、西田优征（矢本悠马 饰）、驹野勉（森永悠希 饰）等成员参加。大家通力合作，一步步朝着全国大赛的目标前进，然而挡在他们前方的，则是有着悠久竞技花牌历史的名门学校北央学园，强大的对手毫不留情对这支成立不久的战队进行了碾压。在此期间，千早得到了绵谷的消息，她满心欢喜，期待这位与久别的好友再度走上竞技花牌的赛场……　　本片根据末次由纪的同名漫画改编。