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：

1999年釜山的一個(gè)小村莊里，女學(xué)生恩智（劉慧英飾）被害身亡，她的哥哥張宇（周元飾）也失去了唯一的親人，他決心一定要查出殺害妹妹的兇手。由于一點(diǎn)線(xiàn)索都沒(méi)有，張宇不得不借助能預知死亡的少女（李柔英飾）的力量來(lái)追查真兇，并在追查的過(guò)程中，盯上了小區內平常人緣和口碑都不錯的藥店藥師閔藥局（劉海鎮飾），雖然沒(méi)有證據，但是張宇卻認定他就是“那個(gè)家伙”，于是開(kāi)始24小時(shí)緊盯著(zhù)閔藥局  。

簡(jiǎn)介：卡米兒（羅拉?塞利頓Lola Créton 飾）十五歲那年遇上了蘇利文，初戀的滋味讓這個(gè)尚在懵懂的女孩品嘗到愛(ài)情青澀的味道。然而蘇利文從大學(xué)退學(xué)，為了追求獨立的生活，在夏天即將結束的時(shí)候離開(kāi)了這個(gè)城市，開(kāi)始了獨自一人的旅程。剛開(kāi)始的幾個(gè)月他還斷斷續續的給卡米兒來(lái)信，講述著(zhù)自己旅途中的事情，但幾個(gè)月后，當卡米兒每每檢查信箱時(shí)，卻再沒(méi)了蘇利文的音訊。就這樣一段全心投入卻又無(wú)疾而終的初戀讓卡米兒心灰意冷，甚至想要自殺來(lái)尋求解脫。在家人的幫助下，卡米兒漸漸從這段愛(ài)情帶給自己的傷痛走了出來(lái)，并且發(fā)奮學(xué)習終在四年后成為了一名出色的建筑師。工作的原因讓她認識了現在的男友洛朗，然而這段穩定的愛(ài)情卻在卡米兒偶遇蘇利文后起了一絲波瀾…

簡(jiǎn)介：賢杰向他初戀的蘇門(mén)答臘人坦承了他的愛(ài)，但她猶豫不決，他最好的朋友宣告了友誼的終結。他們并不同情賢杰，他就在死亡的眼前，只想著(zhù)自己。不為人知的事情發(fā)生在賢杰周?chē)?。有一天，一種奇怪的口音出現了，混亂的日子自然又回來(lái)了。

簡(jiǎn)介：一位計算機科學(xué)家小說(shuō)家與他兒時(shí)的朋友團聚，并闖入政府數據庫，同時(shí)面對他小時(shí)候所獲得的神秘行為的可怕后果。

簡(jiǎn)介：Wunder der Sch?pfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey.　　In the context of Germany's Kulturfilm phenomenon, Wunder der Sch?pfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.