四郎探母

简介：1，恐怖常伴你左右（演出：柄本時生）　　2，内心和外表的差异所引起的悲剧（演出：於保佐代子）　　3，过火的爱情记录（演出：津田健次郎）　　4，好奇心超越猜疑心的结果（演出：松尾谕）　　5，总会用尽的求爱方式（演出：木南晴夏）　　6，每个人都具备的恐怖的人类本性（演出：佐津川爱美）

简介：

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：因为九龙城寨被拆，这部电影随即被誉为不能重拍的经典。蓝乃才将摄影机放在当年三不管的九龙城寨，以沉郁和蓝调的摄影风格，纪录了殖民地时期城寨的混乱和暴戾，一对孤儿兄弟在赌档、毒品、色情架步中成长打滚，江湖动作片中少有地拍出伦理片的感人兄弟情；最后一场困兽式的死亡搏斗，以手提摄影机拍出疯狂与悲凉，被大特写杂志选为当年十大电影。

简介：在2034年，杨俊康教授发明了T芯片，植入T芯片的人类，不再产生疾病，医疗芯片集团普世公司垄断了T芯片专利技术后，将芯片移植技术推广到了普罗大众，使人类开始依赖T芯片。十年过后，一只神秘的雇佣兵组织袭击了普世集团总部，并极其残酷的杀死了总部除了杨俊康孙女杨小青之外的大多数人，并将一种从未见过的芯片病毒植入到了中心控制台中。一瞬间所有已经移植过T芯片的新型人类全部瘫痪，生命岌岌可危。

简介：清水崇导演在《大家的歌》之后，再次集结原班底的校园恐怖电影，讲述了男女五人在暑假补习班的故事。本不存在的“那个人”在教室里出现后，诡异事件接连发生。 暑假，五名学生正在上补习课。在这个教室里，有一个“本应不存在的学生”。在一个暑假，临时担任补习班老师的君岛穂香眼前，一名女生突然从屋顶跳下离奇死亡。逐渐解开“本应不存在的学生”的谜团后，参加补习的学生们也发现了与“那个孩子”有关的令人震惊的事实……等待他们的、无法预料的恐怖是……？

简介：青春少女玛丽（Cécile De France 饰）和爱莉西娅（Maïwenn Le Besco 饰）是同在法国巴黎一所大学就读的好朋友。某个周末，两人驱车前往爱莉西娅家位于乡下的农场度假。适值深夜，万籁俱寂，玛丽寂寞难耐正在自我宣泄之时，一个不速之客突然闯入。他残忍杀害了爱莉西娅的父母和年幼的弟弟，并将其掳去。为了营救好友，玛丽悄悄钻进凶手的卡车。途经一个加油站，她换上同样惨遭杀害的店员的车继续跟踪，却被狡猾的凶手发现行迹。一场近乎迷幻的猫鼠杀戮游戏旋即进入高潮……　　本片荣获2003年Sitges – Catalonian国际电影节最佳女主角（Cécile De France）、最佳导演、最佳化装和欧洲奇幻电影大奖银奖。

简介：范高尚（梁小龙 饰）是一名古董商，企图得到价值连城的阿閦佛佛头，古三（来喜 饰）是范高尚的手下，参与了盗取佛头的行动。古三的奶奶身患重病需要巨额医药费，于是，古三私自将佛头卖给了孙明贤（元华 饰），卷款逃跑，范高尚因此十分愤怒。　　之后，古三结识了名为莲儿（鲁缘缘 饰）的女子，两人志趣相投，惺惺相惜，而莲儿失散多年的父亲在国外意外的发现了佛头，将其买下，带回济南。佛头重现江湖令范高尚蠢蠢欲动，他掳走了古三的奶奶，命古三以佛头来交换。改过自新的古三决心不再助纣为虐，他同警方合作，最终将贪婪的范高尚绳之于法。

简介：在《大话西游之大圣娶亲》中死在牛魔王叉下的紫霞仙子（唐嫣 饰），将会通过月光宝盒预先看到这一下场，为了避免惨剧发生，她选择回到从前不让至尊宝（韩庚 饰）爱上自己。而至尊宝又再次重逢一直在等待他的白晶晶（莫文蔚 饰）。前世今生的种种爱恨纠葛再次在九道轮回里最后一次上演。

简介：

简介：马西莫和弟弟保罗和他们的妻子，遵循着每月到豪华餐厅一起晚餐的惯例。马西莫是个大律师，总有办法为被告脱罪；保罗则是个医师，总在抢救生命，对哥哥作风非常不以为然。两兄弟不仅性格迥异，就连他们的妻子私下也不对盘。幸好两家儿女班妮和米克相处融洽，这层情谊也成了他们情感的唯一支撑。　　某个晚上，班妮带着内向保守的米克去参加狂欢派对。隔天，保罗妻子克拉拉在电视上看到一起残忍的社会新闻，一名拾荒老妇惨遭一对年轻男女毒打，命陷垂危。最让她震惊的是，被监视器拍下的男孩身影，几乎显示了她的儿子米克可能涉案！克拉拉认为爱玩的班妮、带坏了她的儿子米克，对马西莫一家的不满也几乎爆发。　　终于纸包不住火，这起事件很快就被马西莫和保罗两人得知。马西莫打算弄清楚整个事件、好为女儿班妮采取辩护；克拉拉则不希望此事曝光而央及自己儿子。但他们共同的担心都是：个性刚愎的保罗可能会爆料此事，两家于是决定再次相约一起晚餐……

简介：山杠爷（李仁堂 饰）是堆堆坪的党政最高领导人。由干他在村里主政几十年，享有很高的威望。但村妇强英吊死在他门前，还是在村里掀起不小波澜。与此同时，接到匿名信的县检察院干部苏琴来到村里调查。自以为“身正不怕影子歪”的山杠爷并不惧怕调查组。苏琴很快查明了强英自杀原因，一切皆是山杠爷工作作风粗暴所致。山杠爷为催在外打工者回村种责任田，私拆他人信件。村民不按时交公粮，他派民兵关押。腊正反对滩派民工被他打了耳光等等。苏琴明白，山杠爷大公无私无可厚非，但法律意视淡漠，以为村规就是国法。山杠爷自知违法，临行前，他有条不紊地交待着村里的工作，送行的人们在一声声“杠爷”中跪满一地......