簡(jiǎn)介：夜深人靜，白日的束縛悄然褪去，是時(shí)候迎接真實(shí)的自己。在這里，我們?yōu)槟鷾蕚淞艘粓?chǎng)感官的極致盛宴。每一次心跳，都是對寂寞長(cháng)夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點(diǎn)擊開(kāi)啟屬于你的午夜狂歡。

簡(jiǎn)介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

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　　When a reclusive survivalist and his daughter rescue a mysterious, wounded woman from a river, they become entangled in a deadly web of violence and revenge, forcing them to confront a brutal criminal to survive.

簡(jiǎn)介：

　　Having weathered marriage pressures from family and friends in the first movie of the series, Efsun is now with the man of her dreams, Sinan. But the complications facing her love life don't get any less. As if her own chaotic family wasn't enough, she now has to contend with Sinan's - his grandmother, Cavide, in particular - and things quickly spin out of control. Will she make it through hell and high water to fulfill her dream of a peaceful life with Sinan? Does she really want the wedding everyone else has decided on for her? Written by 

簡(jiǎn)介：情報科竊聽(tīng)小組三兄弟情同手足，梁俊義（劉青云飾）正直而又懦弱，在個(gè)人感情問(wèn)題上托泥帶水；楊真（古天樂(lè )飾）家境窘困，不僅要應付身患白血病兒子的隨時(shí)可能出現的突發(fā)情況，而且自己也病入膏肓，命不久矣；林一祥（吳彥祖飾）年輕有為，滿(mǎn)懷雄心，如今又“嫁入豪門(mén)”，前途不可限量。三兄弟在負責調查上市公司“風(fēng)華國際”涉嫌內幕交易案起始，通力合作，出色的完成了布置各種偷聽(tīng)及監視儀器的工作...

簡(jiǎn)介：南宋時(shí)期，良家女子李慧娘因抨擊時(shí)弊被奸相賈似道殺害，含冤九泉之下的李慧娘陰魂不散，化作幽靈飄回人間，報仇雪恨賈似道對太學(xué)生裴舜卿恨之入骨，設計騙其進(jìn)賈府，伺機謀aaa。掌握生死大權的明鏡判官生性愛(ài)憎分明，讓在陰曹地府的李慧娘暫回人間搭救裴舜卿，慧娘手執判官相贈的陰陽(yáng)扇，來(lái)到囚禁裴舜卿的房?jì)?，裴?jiàn)李深夜探訪(fǎng)，疑心重重?；勰锏莱鲈?，舜卿方知慧娘是一大情大義之人，并不知道眼前的美人是個(gè)鬼魂，心生憐憫與愛(ài)意。光陰恨短，李慧娘趁雄雞報曉之前離開(kāi)了裴舜卿?；氐疥庨g，冥冥之中感覺(jué)三更時(shí)分裴舜卿有殺身之禍.

簡(jiǎn)介：Remi throws himself on the ground, listens to birds and falls asleep in hedges. Gabriel opens his stomach to the tip of a knife. They meet.

簡(jiǎn)介：迪諾和安娜他們彼此激烈相愛(ài)，但他們不是一般傳統關(guān)係的夫妻，它們之間從來(lái)就沒(méi)有發(fā)生性關(guān)係，他們都有各自不同對象和性經(jīng)歷的關(guān)係。迪諾有著(zhù)複雜多變的性格，因為他有一個(gè)痛苦難忘的童年，自幼他的兄弟自殺，隨後他的母親又拋棄了他，迪諾彷彿是在愛(ài)神和罪惡之間的尖銳對比，因而產(chǎn)生精神分裂的痛苦。

簡(jiǎn)介：The journey full of megalomania and piano music of Chilly Gonzales from the Berlin punk scene to the philharmonic orchestras, it's a story of eccentricity which also stars Daft Punk, Drake, Feist, Jarvis Cocker.

簡(jiǎn)介：隸屬原宿轄區的女警官橫山五月（武田梨奈 飾）和前輩（今野浩喜 飾）的關(guān)系緊張，她為此頗為苦惱，如是度過(guò)了一個(gè)又一個(gè)充滿(mǎn)焦慮的日子。在外國游客云集的原宿，在某長(cháng)筒襪專(zhuān)賣(mài)店打工的韓國青年（ミンス 飾）擁有一雙只需一眼就能看出他人長(cháng)筒襪厚度的能力，他和好友（ジュノ 飾）站在原宿街頭招攬生意，間或猜長(cháng)襪厚度解悶兒，誰(shuí)知卻遭遇了橫山警官。與此同時(shí)，夢(mèng)想進(jìn)入演藝圈的高中生翔太（ジュン 飾）獨來(lái)獨往，不愿和任何人交流。致力于打造零犯罪率原宿的武田警官（シュウタ 飾）晝夜無(wú)休，此刻他將目標鎖定在一家奇怪的店上。志愿成為電影導演的女孩（麻宮彩希 飾）凝視著(zhù)原宿街頭來(lái)來(lái)往往的年輕人，這時(shí)神秘男子佐藤（山本浩司 飾）出現在她的面前。幾組陌生人馬，他們的故事彼此交錯……

簡(jiǎn)介：當米娜得知她的丈夫Babak是被錯判而被處決的時(shí)候，她的生活發(fā)生了翻天覆地的變化。當局為這個(gè)錯誤道歉，并提供了經(jīng)濟賠償的前景。米娜為了自己和聾啞女兒的利益，開(kāi)始默默與這個(gè)充斥著(zhù)犬儒主義的制度進(jìn)行斗爭。就在她的錢(qián)快花完的時(shí)候，一個(gè)叫Reza的陌生人敲開(kāi)了她的門(mén)，聲稱(chēng)是來(lái)還欠Babak的債的。米娜一開(kāi)始很警惕，但最終還是讓Reza進(jìn)入她的生活，她卻不知道，一個(gè)秘密把他們聯(lián)系在一起。Behtash Sanaeeha和Maryam Moghaddam巧妙地將內疚與贖罪這一伊朗電影的經(jīng)典題材呈現在電影中，成為一個(gè)小而精的姿態(tài)和空間。導演Maryam Moghaddam出色地扮演了夾在孤獨和爭取自決之間的米娜的角色。

簡(jiǎn)介：這是發(fā)生在網(wǎng)絡(luò )一族的一個(gè)匪夷所思的驚險恐怖故事，一個(gè)網(wǎng)絡(luò )“丈夫”在突然蒸發(fā)之后，卻神秘地出現在女主人公的現實(shí)世界中，不斷地騷擾她的生活…… 女主人公余冰的生活中有三個(gè)重要的人：?jiǎn)烫K，她的丈夫，他們在長(cháng)城上認識；米柯，她的“網(wǎng)絡(luò )情人”，她總把心里的苦惱傾訴給他；徐成，上海的前衛青年，腦子里總有些奇怪想法，暗戀著(zhù)余冰。余冰喜歡這樣的生活，然而一件意外的事情讓米柯突然從網(wǎng)上蒸發(fā)，從此余冰的身邊出現了接二連三的怪事，網(wǎng)上的米柯開(kāi)始出現在她的生活里，不斷的打電話(huà)，發(fā)傳真，送花騷擾余冰，并威脅說(shuō)：“我是你老公，我要回家?！庇啾纳畈坏冒矊?，她開(kāi)始懷疑每一個(gè)人，身邊的人都像是米柯的化身。米柯甚至還進(jìn)入她家殺死了小狗“寶寶” 。