光照派

简介：州政府为节省财务开支，计划把分别由拉萨雷和毛瑟所领导的两所警校撤销一所，为了从生存竞争中胜出，两位校长各施所能，毛瑟在州长与学监面前大拍马屁，并且暗中在拉萨雷警校中安插了两名内线；而拉萨雷则召回了昔日优秀学生担任教官助阵，于是马哈尼（斯蒂夫•古根伯格 Steve Guttenberg 饰）、黑巨人高塔、泰克布雷等六人再次回到警校。毛瑟为了获胜，将看不顺眼的学员赶到拉萨雷处，很快，一班古怪学员汇聚拉萨雷警校：从上一集中出现的懦弱眼镜男和流氓头子，到精通空手道的日本交换生应有尽有。马哈尼等人必须在短期内将学员们打造成合格的警察，但这个任务并不简单，除了学员本身的素质限制，毛瑟一伙也在暗中破坏……

简介：年轻人巴萨尼奥（约瑟夫·费因斯 Joseph Fiennes饰）一心要向富商千金鲍西娅小姐（琳恩·柯林斯 Lynn Collins饰）求婚，为了这个愿望，他必须付出三千达克特，无奈中他只好向热心肠的商人安东尼奥（杰里米·艾恩斯 Jeremy Irons饰）借钱。碰巧的是，安东尼奥因为生意周转的问题，只能问犹太人夏洛克（阿尔·帕西诺 Al Pacino饰）借来这笔钱。　　安东尼奥对犹太人历来抱有强烈的厌恶感，而夏洛克则提出了让人吃惊的要求：安东尼奥必须如期如数的归还这笔钱，否则，他将会切下安东尼奥身上的一磅肉。　　巴萨尼奥终于如愿以偿的娶回了鲍西娅，安东尼奥却因为生意失败，在夏洛克的讨债中陷入困境。夏洛克还要趁这个机会，一雪安东尼奥对犹太人侮辱之耻。安东尼奥那一磅肉，看来非割不可了，聪明的鲍西娅却用绝妙一招，化险为夷。

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：担当某广告公司主管职务的马科尔斯（Eddie Murphy 艾迪•墨菲 饰）是一位英俊潇洒、事业爱情双得意的黑人男子。他的风度翩翩和温文尔雅是无数妙龄女郎投怀送抱，也正因为如此，马科尔斯与每位女郎的爱情犹如暴风骤雨一般来的激烈，却很快无影无踪。　　不久他所在的公司与别家企业合并，新来的女上司杰奎琳（Robin Givens 萝宾•吉文斯 饰）性感迷人，马科尔斯将其所定为下一个目标。很快两人一拍即合，但在一夜欢愉之后，他却如曾经那些被他抛弃的女郎一样被杰奎琳抛弃。这令马科尔斯备受打击，事业急转直下……

简介：日本和歌山县太地，是一个景色优美的小渔村，然而这里却常年上演着惨无人道的一幕。每年，数以万计的海豚经过这片海域，他们的旅程却在太地戛然而止。渔民们将海豚驱赶到靠近岸边的一个地方，来自世界各地的海豚训练师挑选合适的对象，剩下的大批海豚则被渔民毫无理由地赶尽杀绝。这些屠杀，这些罪行，因为种种利益而被政府和相关组织所隐瞒。　　理查德•贝瑞（Richard O’Barry）年轻时曾是一名海豚训练师，他所参与拍摄电影《海豚的故事》备受欢迎。但是，一头海豚的死让理查德的心灵受到强烈的震撼。从此，他致力于拯救海豚的活动。不顾当地政府和村民百般阻挠，他和他的摄影团队想方设法潜入太地的海豚屠杀场，只为将罪行公之于众，拯救人类可爱的朋友……　　本片荣获2010年第82届奥斯卡金像奖最佳纪录长片奖。

简介：影片围绕一个来自俄克拉荷马州的美国石油钻井平台钻工比尔(达蒙饰)展开。他不得不前往马赛，拜访他久未谋面却锒铛入狱的女儿(布雷斯林饰)，他的女儿坚称并没有犯下谋杀罪。面对语言的障碍、文化的差异，以及复杂的法律制度，比尔决意孤注一掷拯救他的女儿。而在这个过程中，他与一位当地的女性和她的小女儿建立了友谊，也开始了个人的探索之旅，并获得了更大的归属感。

简介：Armed with a How to... manual, an ambitious window washer seeks to climb the corporate ladder.

简介：年轻有钱又置身于意大利的艳阳下，这是汤姆·瑞普利（马特·达蒙 Matt Damon 饰）所渴望的生活，却是迪基·格林利（裘德·洛 Jude Law 饰）早已拥有的东西。　　瑞普利是个出身平凡，生活也毫无值得炫耀的年轻人，他受到一个富商之托，到意大利去游说他号荡不羁的儿子迪 基，重回他的家乡美国。但是当瑞普利一到那里，就深深地被迪基的生活形态所迷惑：美丽的别墅、高级浮华的度假饭店、一掷千金的奢靡生活，以及他美丽温柔的女友，都令他羡慕不已。　　由于瑞普利一心觊觎迪基的生活，最后这样的欲望竟扩张成想要将迪基取而代之，他缜密的心思不仅令人咋舌，而冷静的犯罪手法更教人措手不及。就在他陶醉于亲手打造的美梦中时，瑞普利因为一次意外的巧合害他露出了马脚，于是引起警方的注意并展开调查……　　本片改编自女作家派翠西亚·海史密斯写于1955年的同名小说，法国导演雷内·克莱芒曾于1960年拍摄过一部以该小说为蓝本的电影《太阳背面》，由法国影星阿兰·德隆主演。

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：基里在父亲的过度保护下不够成熟，克莉斯汀的生活恰好相反，她成为父亲、母亲与继父三角斗争下的受害者。这对年轻情侣因生活无趣而以偷窃为乐，克莉斯汀因而被捕。生父将她交保接走，并送她去精神中心治疗。她从医院逃出，要求基里跟她一齐逃往一个没有人可以找到的地方去独立生活。　　第20届凯撒奖(1995)　 凯撒奖-最佳新人女演员(提名)　 维吉妮·拉朵嫣　　第7届东京国际电影节(1994)　 主竞赛单元-东京电影节大奖(入围)　 奥利维耶·阿萨亚斯　　本片对破碎家庭中青少年成长期渴望被爱的心情有细腻的刻画，男女主角演出了青春气息。

简介：沖縄の阿嘉島の民宿で飼われていた雄犬シロが、対岸の座間味島にいる恋人の雌犬マリリンに逢うために海を泳いで渡った実話を元に製作された。原作・脚本は野沢尚。シロ役は本物のシロが演じたが、本物のマリリンは撮影当時すでに他界していたため、同じ犬種の犬を起用した。

简介：讲述的是一位大楼管理员被曾经的同伴利用他读取残存记忆的能力去寻找一位已经失踪了的钢琴师的故事。野村万斋饰演的是有读取记忆能力的主人公，宫迫博之就是饰演男主人公的曾经的伙伴。