四喜临门

简介：上世纪20年代一个荒蛮的山村里胡老四靠给地主黄万财扛活养家,接近年关的一天晚上,黄万财突然让他深夜前往,一脸媚笑,还赏给了一块大洋,谎称有一亲戚离世,请胡老四前往帮忙守一夜的灵。憨厚老实的胡老四却不知其中有诈。

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在中东这个充满紧张局势的地区，年轻的艺术家们多年来一直努力争取自由表达自我，并在社会中倡导更自由的思想。“阿拉伯之春”期间，与许多新一代阿拉伯艺术家一样，当地艺术家对未来充满希望，并参与了抗议活动。然而，在经历了多年的动荡和动荡之后，年轻的阿拉伯人如今不得不面对新旧问题，在幻灭感和对美好未来的渺茫希望之间左右为难。《Yallah! Underground》追踪了来自埃及、黎巴嫩、巴勒斯坦、约旦和以色列的一些当今最重要、最进步的地下艺术家，他们经历了2009年至2013年间的快速变革。

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　　香港的黑恶势力团伙“洪乐”在选举龙头前夕，“洪乐”龙头候选人之一的李竟（李天翔 饰演）被绑匪绑架，要挟李竟的妻子张菲（何佩瑜 饰演）拿出一千万来赎回她的老公。张菲向警察寻求帮助，而警局负责此案件的正是曾经卧底于李竟手下的探员林祥（邓健泓 饰演），龙头之争，江湖混战,一触即发......

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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：女孩“泡泡”在反复观看同一部电影时发现了影片内主角的秘密，而随着电影的不断播放，影片主角的行动开始逐渐脱离电影原初的设定。直至某日，她从虚幻的影像变成了真实的人，渴望来到电影之外的世界……

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这部电影讲述了一群可歌可泣的义马人民为保护储蕴丰厚的地下资源与贪婪掠夺者和野心勃勃的外敌进行斗智斗勇的感人故事。

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影片讲述了从遥远外星来到地球的Angela为了寻找因爱而离家出走的哥哥，无意间遇到她命运中的宿命-天意，她的灵魂寄托在人类的身体里最多三天，尽管Angela每次变身成不同身份后都对天意加以戏弄及欺骗，但天意却依旧对她的每一个身份都加以照顾。其后Angela更被疯狂罗博士盯上并展开全力抓捕，天意为了保护她甚至不惜拼命舍身相救，终于令不信爱情的Angela开始被天意感动。为了实现自己的科学理念，疯狂的罗博士竟然不惜代价，向研究院假传情报，动用特种部队全力追捕Angela……

简介：路易斯（丹尼斯·普莱斯 Dennis Price 饰）的母亲出身高贵的阿斯特内家族，但因和一个意大利歌唱家私奔，至死都受到家族排斥。已经长大成人的路易斯深深牢记贵族亲戚们拒绝母亲葬在家庭墓地的嘴脸，又经历心爱的少女茜贝拉（简·格林伍德 Joan Greenwood 饰）因他贫穷拒绝他的求婚，于是着手展开他的复仇计划。他把有爵位继承权的男性亲属一个个用计谋杀掉，旨在自己可以得到公爵爵位，在杀人变得越来越得心应手后，连老弱妇孺都不肯放过，反正他总能制造各种巧合，从来没有人怀疑到他身上。但在复仇计划执行的同时，他也陷入感情困扰——嫁人后的茜贝拉和他藕断丝连，又有个家族内美丽的遗孀艾迪丝（Valerie Hobson 饰）爱上了他，愿意和他订婚，在路易斯得意洋洋继承爵位和举办婚礼之际，他的罪行似乎也要败露……

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一位年轻的女医师苏珊菲勒，其好朋友因简单的手术而陷入昏迷状态；然而在她服务的医院中，也有许多类似的病人，在经过简单的手术后呈现昏迷， 这些病患被送至另一机构集中照顾，但是苏珊菲勒发现事情并不如她所想......

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.

简介：本片为1968年田中徳三的怪谈杰作，并非youtube上的那个动画。收藏时请注意。