三姐妹的故事

简介：置身于国际化大都市的北京，吕波绝对属于养眼美女的那一种。高挑欣长的身段，瓜子脸蛋上秀眉弯弯、明眸圆圆，浑身上下透着明艳娇媚、青春无敌的气质。或许正是因为人长得漂亮，吕波和顺应如今时代发展趋势的青春美女一样，选择了做人情人的角色。但吕波又不是凭借长相混饭吃的那种，在她的内心深处，人到中年、事业有成却家有妻儿的周明占据了她整个的情感世界。　　但尽管如此，这种东躲西藏的日子过起来毕竟如同做贼，让吕波难以接受。为了找一个相对安全的二人世界，周明带着吕波来到一处闲置多年的房子。不巧的是，两个人前脚刚进门，司机小刘就打来电话：妻子来了，而且已经到了楼下。周明慌不择路，倒是吕波正想会会这个绑住自己情人的女人。无奈在周明的苦苦哀求下，吕波只好委身从窗户缘绳而逃。谁曾想，刚出窗户就不慎跌入一独身男子的家中。　　独身男子名叫史新羽，在一家广告公司做平面设计，住在这里原本是替出国的朋友看看家。面对眼前这突如其来、从天而降的青春美少女，史新羽还以为是“天上掉下一个林妹妹”。就当史新羽为眼前的一幕懵懂不知所措时，从有惊无险中镇定下来的吕波已经在宛尔一笑中，嫣然而去。　　周明是个高干子弟。如今正步入颠峰的事业离不开妻子的支持不说，一年中还有半年的时间不在国内。没有周明相伴的日子，吕波只有在自学英语、练习击剑、漫逛商场、狂泡酒吧中打发无聊的时间。在得知周明为顾及家庭的颜面和周遭朋友的舆论而拒绝答应和妻子离婚的最后通牒后，吕波决定用自己的方式报复周明。为此，吕波在一个雨夜敲开了史新羽的门，并用自尽寻死相逼，让豪无思想准备的史新羽答应和她结婚。　　吕波做梦都想有一个像样的婚礼，如今为报复周明，吕波带着肚子里周明的孩子，在稀里糊涂中做了史新羽的新娘。和史新羽结婚不到一年的时间，吕波就顺利生下一个白胖小子。为兑现当初答应吕波的承诺，史新羽给孩子取名叫史见证。不仅如此，史新羽还以和吕波分睡客厅沙发和卧室大床的不逾坚守，默默地实现着对吕波的好。　　然而，这种平静的生活很快就在史见证长到三岁的时候，随着周明的再次出现而被打破。周明带着已经和前妻离婚的好消息出现在吕波的面前。周明的出现，重新勾起了吕波对往事的回忆，也在史新羽的心上无情的划开了一道伤口。在周明重归于好的哀求面前，吕波带着史见证出现在周明为自己举办的盛大生日聚会上。　　面对周明赠送的宝马名车和私人别墅里觥箸交错的酒绿灯红，吕波想起了远在青岛出差的史新羽，想起了在最绝望的时候给予自己活下去勇气的丈夫。吕波毅然离开了周明，在人群攒动的街头找到真正爱她的史新羽。为实现吕波的愿望，史新羽在朋友同事的操持下，为吕波举办了一个简单而隆重的婚礼。带着三岁儿子史见证的婚礼上，吕波身披圣洁的婚纱，高歌一曲《不能没有你》。祝福声中，“……日子过得怎么样，人生是否要珍惜”的歌唱在每一个人心中荡漾，在都市的上空传得很远、很远。

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：Excerpts from the diary of a woman and beautiful images made in the post-war decades by a man combine to weave an enchanting narrative.

简介：华夏集团董事长李秋山回到了阔别已久山区老家看望家乡儿童和乡亲，一幕幕心灵的碰撞让他激发起对自己童年的回忆……　　李秋山的妈妈是个间歇性经神病患者，爸爸在一次事故中去世，使这个原本不幸的家庭陷入了更加窘迫的境地。　　秋山为了不让患病的妈妈受刺激，爸爸过世的消息一直瞒着。年仅十岁的秋山担负起家庭的重担，他在邻居三奶奶和村主任等人的帮助下为妈妈买药，劝妈妈吃药，为了给妈妈买药治病，秋山去工地捡拾钢筋，捡矿泉水瓶、易拉罐。　　在长期与三奶奶的接触中，秋山了解到三爷爷牺牲前曾答应给三奶奶到泰山求块大红布做围巾，于是秋山暗自下决心：一定登上泰山给三奶奶求到做围巾的大红布！　　秋山几经周折为妈妈买来好药，妈妈看到药物病情发作，坚决不吃，并且还毒打了秋山。绝望的秋山跑到爸爸坟前哭诉。秋山被村主任等人找回后，却发现妈妈又不见了，众人连忙寻找。原来，妈妈意识清醒后悔恨得想要自杀，被秋山劝住，母子二人抱头痛哭。　　经乡镇两委研究，决定免除妈妈住院治疗费和秋山的学杂费。秋山的作文在征文竞赛中获得一等奖，秋山的事迹在全市传开，在社会各界和乡亲们的热心帮助下，也终于实现了他给三奶奶许下的承诺：在泰山极顶上，秋山手舞大红布高喊：“我终于登上泰山了！三奶奶，我给你求到做围巾的大红布啦……”　　呼声响彻天际，响彻云端……

简介：Alors que Jean, maire très conservateur d'une petite ville du Nord, est en campagne pour sa réélection, Edith, sa femme depuis quarante ans, lui annonce une nouvelle qu’elle ne peut plus taire… Au plus profond de son être, elle est - et a toujours été - un homme.　　Jean pense d’abord à une plaisanterie mais réalise rapidement qu’Edith est sérieuse et déterminée à mener sa transit...

简介：大名星朱丽娅·罗伯茨，蒂姆·罗宾斯，索非娅·罗兰，马塞洛·马斯楚安尼1994年主演。素以讽刺手法见长的大导演罗伯特．奥尔特曼向巴黎的时装界开刀，利用一次时装大展的举行来暴露其中内幕，最后甚至安排大批模特儿全裸出场以收震撼效果，不知电视上能否以原貌播出？　　影片剧情以多线交错进行，一方面是法国时装协会会长突然暴毙，他的遗孀、儿子和情妇趁机争夺生意经营权，而警方则派员前来调查暴毙案真相；另一方面各地媒体蜂涌前来采访，美国女记者被迫与男记者共租一个房间，结果两人足不出户便完成采访任务；几份时装杂志则采用谍对谍方式引诱时装摄影师跟他们签约。

简介：奈莉（艾曼纽·贝阿 Emmanuelle Béart 饰）和男友相恋多年，死心塌地的想要和这个男人携手步入婚姻的殿堂。然而男友实为好吃懒做之人，为了维持生计，奈莉不得不奔波在街头，靠着打零工的收入养家，心中不免充满了愤恨。　　一次偶然中，奈莉结识了名为阿尔诺（米歇尔·塞罗 Michel Serrault 饰）的男子，阿尔诺是一名德高望重的法官，两人相谈甚欢。阿尔诺聘用了奈莉，任命她为自己的私人助理，给与其丰厚的报酬，奈莉更是因此邂逅了风流潇洒的出版商文森特（让·雨果·安格拉德 Jean-Hugues Anglade 饰）。一来二去之间，奈莉和文森特之间碰撞出了激情的火花，但与此同时，奈莉发现阿尔诺竟然亦对自己抱有别样的感情。

简介：普通人大卫在与已故祖父的奇特收音机互动后，他的人生发生了非凡的转变。

简介：繁华之夜，名叫陈萌（焦婷 饰）的妙龄女子在某小区坠楼身亡，其死因不明，案发现场更是疑点重重。不久，内容不同却承载着相同不祥气息的请柬，将公司老总李景文（张达明 饰）及其妻子胡静（郝文婷 饰）、地产公司销售顾问林夕（胡桑 饰）、游戏玩家谢雷（李悦铭 饰）等6个有着不同身份的人召集到了位于郊区的某个会所中。通过简短的交流，这些人很快发现，他们唯一的共同点便是都认识不久前死去的陈萌。谢雷是被陈萌抛弃的男友，李景文是陈萌的外遇对象，林夕则是陈萌的闺蜜。似乎有个神秘之人将他们召集在一起，试图弄清那个女孩死去的真相……　　本片号称根据日本惊悚推理小说《温泉旅馆》改编。

简介：开罗，2013年夏季，埃及革命爆发两年后。随着总统穆尔西被革职，一辆载满因政治分歧和宗教背景而被拘的示威者的警车从暴乱的抗议人群中呼啸而过。他们可否克服分歧来争取一线生机？

简介：五年徒刑的折磨，使一个虽然充满犯罪细胞的罗刚亦对邪门生涯产生厌悔之念。　　出狱后的他，曾婉然对慈父誓言永不立足于罪孽的泥沼，他希望妻子脱离舞树笙歌的生活，在家做个贤妻，他也冀望弟弟远离一切不良分子，洁身做个好青年。可是事与愿违，力有不逮，他的行为只是换来妻子和弟弟的戏虐，连同一名对他早有歧见的探长亦对他不谅解。　　贼性难改是探长对他的格言，而他不羁的弟弟更四出招摇，重复燃起罗刚的旧仇家黑鬼森之积怨，黑鬼森意欲赶尽罗刚，不但把他辛苦得来的工作捣乱，更从侧面谋诱其弟染上毒瘾……

简介：北宋年间百乐兴起，以朝廷为代表的大晟府和古琴派、鬼鼓派、大钟派、琵琶派、铁笛派为主导的大乐坊蠢蠢欲动，为成为天下第一而争夺《伯牙真经》所引发的一系列故事，男女主角也在重重经历中不断成长，感受爱与正义的真谛。