死在西部的一百万种方式

简介：大光灯是富家阔少爷，由法国返回香港，继承遗产，怎料继父已将全部遗产赠送慈善机构，遗下给他的只是四字真言：自力更生。一夜之间，阔少爷落难无家可归，暂寄居前管家炎叔家中，与此同时，大光灯开始寻回已各奔前程的昔日四个乐队——人行支票乐队的队友，是非精、柠檬头、猫粪。猫粪是颇负名气的舞男，是非精贪图金钱，好逸恶劳，甘愿继续其舞男生涯，而柠檬头经不断碰壁，放弃对表妹的盲目追求，与小凤同赴外国深造，生意则转让给大光经营……

简介：1927年4月12日、7月15日，蒋介石、汪精卫先后背叛革命，轰轰烈烈的大革命失败了，白色恐怖笼罩着沔阳洪湖地区，中国陷入了最黑暗的年代。中国共产党为了挽救革命，于8月7日在汉口召开紧急会议，确定了土地革命和武装反抗国民党反动派的总方针。时任中共地下湖北、湖南两省省委宣传部长的邓昌伦（原沔阳县彭场镇沙岭村人），受组织委派，回到沔阳家乡，领导革命斗争。自此，湘鄂西洪湖根据地，沔阳东南方又掀起革命斗争风暴，为湘鄂西洪湖根据地革命斗争史写下了光辉的一页。

简介：弗朗哥统治时期的西班牙马德里，女童安娜（Ana Torrent 饰）与两个姐妹在军官父亲安赛莫死后被过继给姨妈抚养，安塞莫在世时风流成性，母亲玛莉亚（Geraldine Chaplin 饰）为他放弃事业最后落得在寂寞压抑的生活中痛苦不堪，早早去世。关于母亲的记忆不时浮现在安娜脑海，这些记忆混同她对死亡的臆想慢慢影响了现实生活。姐妹三人在姨妈的看顾下并不安分，姨妈正陷入一场同安赛莫已婚战友的恋情，安娜的举止让她愈发感到威胁。安娜试图用一瓶所谓毒药帮助生活不能自理的祖母自杀，而那瓶物事不过只是苏打，祖母拒绝服毒，安娜又将目标对向了姨妈……　　本片获1976年戛纳电影节评审团大奖等多项褒奖。

简介：该纪录片将带观众深入探索《流浪地球2》的幕后世界：导演、制片人、美术及特效团队等电影核心主创将亲自讲述这部科幻巨制的制作过程与他们的心路历程，观众将看到他们在追求电影艺术极致的同时，如何推动中国电影工业化进程、为中国科幻电影的未来开辟新道路。　　此外，纪录片还特别邀请了中国知名科幻学者、作家回顾中国科幻的发展历程——从早期的科幻小说到如今的科幻电影，观众将了解到百年时光中，中国科幻从萌芽到茁壮成长的过程。这是一次不容错过的中国科幻电影冒险之旅，也是一次对中国科幻未来的深情展望。

简介：2012韩国电影《无情的城市》堪称“韩国版《撞车》”，以9个人物为中心，讲述他们在24小时内发生的连环悲剧。李基英在片中饰演一位放高利贷的放债人，他放贷给面临破产危机的金大宇(金石勋饰)，在金大宇没能力偿还高利贷后李基英就以此为借口威胁金大宇说要摘除他的脏器。特别是李基英在杀死自己的妻子后，当他被指定为嫌疑人接受调查时面不改色、处变不惊、泰然处之的演技表现，令人感到毛骨悚然aaa

简介：从汉城转学到父母家乡的高中后，李玉甄（李世恩 饰）受到班里四个女生的欺负，为了报复，她和另外两个也常受她们欺负的同学玩起请笔仙的游戏，笔仙请来后，李玉甄施下诅咒，但也被鬼魂附身，不久，四个女生中有三人相继以自焚的方式死去，警察调查后，将目标人物锁定为李玉甄，可是此时李玉甄已 完全丧失记忆。　　新调来的美术老师李恩珠（金圭莉 饰）第一天上课点名时，喊到29号金仁淑的名字时，全班同学厉声尖叫，令她十分不解，在心仪她的同事的帮助下，她发现有关金仁淑的秘密，而这个秘密，也与李玉甄及死去的三名女生有很大干系。

简介：二战时期，男孩乔乔(戴维斯)和母亲(斯嘉丽)生活在纳粹德国统治下，他不知道母亲在家中藏着一个犹太女孩(麦肯齐)，而母亲秘密为抵抗军工作。乔乔渴望加入希特勒青年团，他脑内出了一个颠覆版的希特勒，这个希特勒有魅力、傻傻的、天真可爱，是他的朋友，帮助他应付生活中的困境。

简介：泰国的都兰男子高中，就如同许多学校一样，有着自己言之凿凿却查无实据的怪谈传说。这些传说越传越烈，让人莫辩真伪。其中一个就是曾有一名学生因考试不及格跳楼自杀，继而成为逡巡校园的冤魂。胆大妄为且不敬鬼神尼克完全不相信这些流言，在某个夜晚，他约上尼克、詹姆士、阿标、戴克斯等七名同学夜探校园。从探险的最开始，各种阴森恐怖的事情相继发生。尼克和詹姆士、阿标还以为是彼此事先设计好的圈套，最终却发现跳楼的怨灵真的存在，并且这还只是当晚噩梦的开始。　　少年无所畏惧的探险陷入混乱，校园变成了阴魂不散的恐怖鬼屋……

简介：世界上最强大的秘密特工的孩子们无意中帮助一个有权势的游戏开发者释放了一种电脑病毒、使他能够控制所有技术，导致他们自己成为特工来拯救父母和世界。

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：电影通过描述社区基层干部服务群众的典型事例，塑造了无私奉献的社区书记形象。社区书记周明秀在面对个人家庭生活的困境时，舍小家为大家，搭建起党群之间的温暖桥梁，传递党对群众关心、关爱，展现了党的民心观、群众观，及亲密美好的党群关系。

简介：四个美国大男孩吉姆（贾森•比格斯 Jason Biggs 饰）、凯文（托马斯•伊恩•尼古拉斯 Thomas Ian Nicholas饰 ）、芬奇（艾迪•凯伊•托马斯 Eddie Kaye Thomas 饰）、奥兹（克里斯•克莱因 Chris Klein 饰）即将高中毕业，但四人都还是愣头青（处男）。四人因此遭人嘲笑，他们亦耿耿于怀，发誓在毕业前要告别处男。　　他们在毕业晚会前就举办了一场派对，企图在派队上找到自己的女孩，告别处男之身。谁知告别处男并没有想象中简单，也没有按设想进行，他们总是在最后关头因为这样那样的原因而失去机会。　　毕业晚会即将到来，这是他们毕业前的最后一次机会了，四人又开始加紧准备步伐。怀揣着父亲教授的一套性知识的吉姆，最喜欢看图书馆性爱“圣经”的凯文，最喜欢大龄女人的芬奇，还有多才多艺的奥兹，在这场派队中纷纷为自己的誓言而奋斗，于是有了笑料百出的一幕幕。