水书物语

简介：这是一个对新鲜事物充满好奇的时代，和所有故事的开头一样，坏男孩变好的原因永远是女孩，为了喜欢的女孩，海边烧烤摊堂口老大阿力在母亲包租婆的支持下，带着他的兄弟阿健、阿强开始了自己的音乐之路，同街区的阿友、阿伦、阿B也被坑蒙拐骗拉进团队，他们在斗殴和训练中增长友谊，父母们的集体反对、路人、邻居们的嘲笑更是激起了他们的好胜心。　　通过不懈努力终于从Loosers变成了Wynners，穷小子终于变成大明星，父母似乎也能理解这一切，但成员知名程度不一，资源分配不公等问题成为兄弟友情的最大考验，Wynners能否经受考验，保住兄弟真情谊.....

简介：鲍兴明是云南佤族瓮青寨的村民小组长，他一心想带领着乡亲们脱贫致富，但是这一次他遇到了危机。从小定下娃娃亲的肖家突然提出了要退婚，可就在要定亲当天借着游玩来此地“考察”的富家公子王启航巧然卷入了鲍兴明的一场婚姻风波。而之前由他牵头带领乡亲们卖寨子里的原生稻，却也在结款日到来之前买家突然失踪了。在处理这次危机的过程中，在鲍兴明的不懈努力和佤族人民的情怀下，打动了前来考察开发的王启航，最终二人决定共同开发佤族村寨，联合打响扶贫攻坚战。

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：艾弗里是中情局秘密特工，在任务中认识了无国界医生大卫并隐瞒身份与之结婚。　　一天，大卫被神秘团伙绑架，对方威胁她从一名重犯手中取得情报，赎回丈夫。 艾弗里随即闯入监狱，却发现情报不翼而飞。

简介：人公童炎在救小女孩的时候被疾驰的车撞了，等他醒过来之后发现自己有了超能力，同时也加入了超能秘密组织。报到的时候童炎被分配给组织头号人物菲儿，此时菲儿发现了另一位头号人物拉格斯的阴谋，但是菲儿被暗器限制了能力，在观察童炎是否勇敢、善良、正义之后决定训练童炎，童炎的努力和改变让菲儿爱上了他，两人准备揭露拉格斯阴谋的晚上，菲儿用自己的超能力删除了童炎的记忆，等童炎醒过来之后碎片般的记忆让他感觉到好奇，童炎追寻着记忆的碎片终于找到了答案，童炎找到了拉格斯打碎了超能时钟，超能时钟钟声响彻天际，童炎醒过来发现是自己的一个梦，但是这个梦却如此真实，从此童炎改变了自己找回了自信。

简介：A couple's ailing marriage is put to the test when they are held hostage in an isolated vacation rental by an unseen Voice that commands their every move.

简介：文森（伊马诺尔·佩尔塞 Ymanol Perset 饰）表面看来只是一介平凡青年，却拥有着一身了得的射击本领，年仅二十五岁的他作为官方认可的枪械教官，深受业内同行的尊重和赞赏，前途可谓一片光明。　　某日，一位名叫米罗（乔伊·斯塔尔 Joey Starr 饰）的警察出现在了文森的身边，殊不知他的所作所为将会彻底改变这位青年的命运。接二连三的意外让文森被迫处于争斗的漩涡中心，不断沉浮于阴谋和罪恶之中。特警队指挥官查韦斯（热拉尔·朗万 Gérard Lanvin 饰）和行动大队指挥官德纳尔（西蒙·阿布卡瑞安 Simon Abkarian 饰），两人之间的矛盾已经到了无法调解的白热化程度，他们一位是文森的保护者，一位是他的师父，身陷在恶斗的中心，文森将会作出怎样的选择？

简介：黑白密室偵探片，十個角色，一女九男，其中一個是兇手。「過去我沒聽說過這戲，為了拍《8美千嬌》，我看了一遍，令我獲益良多，對那年代的美國電影瞭解得更清楚。」（奧桑）《Marie-Octobre》很寫實，是齣沉重的電影，拍得一板一眼。奧桑往相反方向走　－　輕鬆、非寫實、七彩、諷刺（人物互相指控而來）。 同類克里斯蒂式偵探片，奧桑較喜歡佳咸美頓（Guy Hamilton：《破鏡奇案》(The Mirror Crack'd)，《午日奇屍》(Evil under the Sun)，還有Sydney Lumet的《東方快車》。《8美千嬌》參照此片最多的是佈景設計，像客廳、書房、睡房、飯廳等。

简介：十八世纪末期的纽约，警察们还延用古老的办案方式，对罪犯刑讯逼供，年青的警察伊卡布·克瑞恩（约翰尼·戴普 饰）笃信科学的办案方式，因此受到市内同行的排挤，被派到一个叫断头谷的小镇办理一起连环凶杀案。　　断头谷一直流传着关于“无头骑士”的传说，据说，他是因为嗜血而战的黑森林雇佣军，被敌人割去头颅后，他的孤魂一直在断头谷游荡，在月黑风高之夜，他会骑着快马、 拿着大斧将经过此地的行人的头颅割下。两个月内，小镇中已经三个人惨遭毒手。　　克瑞恩住进了当地富豪范塔索（迈克尔·甘伯恩 饰）家中，他对“无头骑士”的传说不以为然，但是，又有人接二连三的死去，他还亲眼目睹了“无头骑士”砍掉小镇治安官的头颅，他不得不相信传说的存在，也坚定了要查出真相的决心。　　经过一番调查，克瑞恩将疑点放在了范塔索身上，同时，他和范塔索的女儿卡翠娜（克里斯蒂娜·里奇 饰）刚刚萌芽的爱情也被残酷的现实所摧毁。　　就在克瑞恩以为一切真相大白，黯然神伤中准备离开断头谷时，事情发生了意想不到的变化……

简介：After unhitching her camper at a lakeside in the mountains, Faye finds her rhythm cooking meals, retrieving crawfish from a trap, and scanning her old box radio for a station. She looks expectantly at the approach of a car or the mailman, explaining to neighboring campers that she’s waiting for a childhood sweetheart she hasn’t seen in decades. When he does arrive, Lito and Faye, both widowed, spend an evening reminiscing about their lives, losses, and loneliness.　　A whimsical romance, Max Walker-Silverman’s captivating debut feature shows an American West full of quietude, compassion, and introspection. It’s both naturalistic and vaguely surreal, blurring our sense of time and beauty, loss and vivacity, the grandiose natural world and intimate humanism. Career performances from Dale Dickey and Wes Studi bring an inescapable presence to people we don’t often see portrayed on film. They are gentle outliers possessed of resilience and existential spirit, seeking to process something elusive a feeling of love for what’s no longer there. Like Faye turning her radio dial, they listen hopefully for the faint trace of a song.

简介：“江湖女骗子”白娜（章若楠 饰）与“小镇憨憨男”方耀东（吴昱翰 饰）在船上不打不相识，谁料冤家路窄白娜阴差阳错竟被当成方耀东媳妇，受到方家人的热情款待。而方耀东为了戳穿白娜谎言、赢回家人信任，与白娜斗智斗勇惹出笑料不断，家庭保卫战一触即发，“女骗子”与“男憨憨”高手过招会如何相爱相杀？