婚礼傲客

简介：

白泽凌风师兄弟自幼便在修真正派昆仑长大。二人因误入秘境，各得一宝，昊天镜及绝世魔功。后因凌风修炼魔功之事败露，两人被昆仑逐出宗门，来到俗世白马镇。在俗世，白泽和凌风与各自心爱之人幽幽和云梦相遇，本想就此度过余生。不料昆仑一众追杀而来，凌风心爱之人云梦惨死，凌风因此坠入魔道。为炼得魔功向昆仑复仇，凌风残忍杀师，与白泽兄弟决裂。白泽不堪打击颓唐度日，神志消沉，在幽幽帮助之下终是顿悟。昆仑之巅，白泽手持昊天镜，为心中道义 而战，一举击败凌风，创立蜀山。

简介：

21岁的梅坎是个富二代，在伊斯但堡的生活富足却空虚：和他父母住在一起，在父亲的建筑公司做个白领，和他的狐朋狗友花天酒地。直到遇到来自东土耳其的库尔德女孩古尔，梅坎开始渐渐有了自信，并决定离开专制的父母独立生活。但专横的父亲不允许他脱离主流的期望，在主流社会眼里，库尔德人等同于分裂国家的人。梅坎是否意志坚定，可以摆脱父亲的束缚？在通俗故事下，导演不只尖锐地批评土耳其男性主导的阶级社会，似乎也是一种嘲讽式的自我针砭。

简介：阿羿（张智霖 饰）是一名特警，执行任务时偶然发现了某公司老板跟韩国的激进分子有密切的联系，更打算从台湾偷运武器到香港。阿羿很快掌握到情报并与之展开了搏斗，不料他的领队晟（黄秋生 饰）在枪林弹雨正牺牲了，首犯金也逃脱了。　　后来阿羿转职加入了G4行列，任务是保护政府要员的安全。每天劳碌工作的他无暇顾及女友凯莉（李若彤 饰），两人之间的感情出现裂痕。　　可是阿羿没有忘记要为自己当年的好队友报仇，正在这个时候，阿金又出现了，更打算再次与韩国分子联手。阿羿势要抓紧机会，为好友报仇，将犯罪分子绳之于法。

简介：在一场瓢泼大雨之中，孱弱的女子苏西（杰西卡·哈珀 Jessica Harper 饰）孤身一人来到德国，前往那里的芭蕾舞学校学习舞蹈。刚刚抵达的苏西看到一位女子从学校的大门里狂奔而出，口中念念有词，随后消失在了雨幕之中，让苏西没有想到的是，第二天，她便听闻了这位女子的死讯。　　很快，苏西便发现这所学校里的同学并不如她想象的那样友善，她的室友更是一个唯利是图的女人，而苏西结交到的唯一一个朋友，竟然同先前死去的女生是好友。在她的口中，苏西听说了学校里女巫作祟诅咒横行的传言，而接连出现的诡异现象亦让苏西慢慢察觉到，在这所阴森的学校中，隐藏着不可告人的秘密。

简介：第四季以谷物为视角重新审视我们美味的星球，挖掘展现世界美食地图，从美食中折射出世界各地的美食智慧与中国人个性的独特侧面。将以全人类的视角放眼整个地球，寻找世界范围内正在发生的谷物与人类共生的故事、多样美食与谷物之间的碰撞，透过这些故事我们可以窥见农业诞生至今的一万年中，人类与食物之间相互塑造的传奇。

简介：

明朝年间，兵部尚书麾下的百户段天昊为查出倭寇与阉党勾结销赃的证据，加入锦衣卫，几年来一直潜藏在太监总管张公公身边。就在他终于得到线索，准备与多年兄弟总旗苏子峪里应外合抓住犯人时，兵部尚书刘大人得到阉党利用倭寇陷害福州知府的线报，并派出段天昊的弟弟段天麟到倭寇处卧底。段天昊与苏子峪只得放弃到手的功劳，前往福州，却不曾料到竟是一场有去无回的凶险之旅。

简介：

曾是一位金融才俊的阿博（Bowen），终日在24小时快餐店借宿，店内有不少同路人与阿博为伍，相互改写了各自的人生。分别有一直为奶奶还债而债台高筑的妈妈带着囡囡、不敢回家的等伯、刚离家出走的少年深仔，还有暂居庇护宿舍的歌女阿珍都以阿博为首，各人互相扶持，希望能尽力帮助彼此走过人生低谷….

简介：导演梦寐以求的工作，在被迫拍摄现实生活中的谋杀时，很快就变成了一场噩梦。

简介：

斋藤施法杀死隐居的“土门”夫妇，夺走秘术。敛房内，龙聪、鬼子六和马琳达三人面对尸体一筹莫展。局长请来罗宾检查，发现他们死前吸入了一种致幻物质。龙聪带罗宾到案发现场勘察，罗宾推测杀人者是为幻术五门秘术而来。龙聪和鬼子六按照线索找到一名嫌犯，罗宾用计谋追踪到他们的老巢，美智子用幻象法阵困住三人后脱身，罗宾发现了他们杀人的目的是为了宝藏。鬼子六查到“金门”的线索，众人前往调查，却误入敌人陷阱，罗宾受伤。于是众人前往警局监狱躲藏。美智子积蓄力量后潜入监狱，幸得众人警觉逃亡警局大厅。美智子与罗宾大战十几回合，最终众人同心，一番恶战，大败美智子。

简介：

西埃洛十几岁的女儿劳拉在墨西哥北部被绑架。尽管支付了数笔赎金，劳拉仍未归还。由于当局没有提供任何搜救支持，西埃洛决定亲自出马，从家庭主妇摇身一变，成为一名复仇的武装分子。

简介：一个修锁匠，拎着给刑警队修理好的手拷，历经千辛万苦，千里追寻过失致人死亡而畏罪潜逃的儿子投案自首，不但拯救了儿子的生命，同时也用自己的一只肾，挽救了另外一条年轻的生命。

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.