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：從小喜愛(ài)唱歌的白云虹帶著(zhù)自己的夢(mèng)想來(lái)到北京，在一次租房時(shí)恰遇同樣懷揣夢(mèng)想來(lái)北京的車(chē)遠軍，兩人因租房發(fā)生激烈的爭吵，產(chǎn)生了矛盾。卻又互不情愿的成為里外屋的鄰居。生活的窘迫，現實(shí)的無(wú)奈，使兩人的磨擦愈演愈烈。然而一個(gè)“書(shū)法家”的闖入使他們逐漸在爭吵中互相了解、化解了矛盾，最終成為一對戀人。 白云虹在歌廳唱歌才華被一老板看...

簡(jiǎn)介：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.

簡(jiǎn)介：科學(xué)狂人和荒島驚魂后，這回天才特工小姐弟必須面對的，是解救全世界孩子的任務(wù)和一個(gè)龐大危險瘋狂的虛擬游戲…… 在莫名其妙的失去了他的特工工作以后，“少年版007”朱尼·柯蒂斯(達利奧·薩巴拉飾)被告知他必須設法進(jìn)入一個(gè)虛擬游戲的世界，他的姐姐卡門(mén)·柯蒂斯(阿歷克夏·維加飾)的精神被禁錮在那里。 　　游戲的設計者是一個(gè)被成為“玩具制造商”(席維斯·史泰龍飾)的狂人，他有五個(gè)全然不同的分裂人格，出于邪惡的目的，他希望能夠通過(guò)這個(gè)游戲控制全世界的孩子。為了打敗他，朱尼加入了一個(gè)由全世界招募而來(lái)的孩子們組成的游戲測試小組中，進(jìn)入虛擬世界接受層出不窮的挑戰。朱尼面臨著(zhù)一系列考驗：比如在熾熱的火山巖漿上沖浪，和巨大的機器人與異種怪獸交戰，又或者危險重重的奪命狂奔。即使有曾經(jīng)也是天才特工的祖父幫忙，朱尼能夠成功的通過(guò)這些關(guān)卡，拯救姐姐卡門(mén)并最終打敗邪惡的玩具制造商嗎？

簡(jiǎn)介：

Mark從小生活在小村莊，那里有很多的白色水牛，村長(cháng)希望Mark可以用功讀書(shū)，上完大學(xué)，每年都將白色水牛賣(mài)了給Mark交學(xué)費。Mark也在很用心的學(xué)習，可是英語(yǔ)考試一直是他頭疼的科目，他為了這個(gè)科目又多上了兩年的大學(xué)，最后還是失敗，Mark決定不再學(xué)習，開(kāi)始了自己人生的旅程，而白色水牛也成了他接下來(lái)生活的一部分。

簡(jiǎn)介：開(kāi)羅，2013年夏季，埃及革命爆發(fā)兩年后。隨著(zhù)總統穆?tīng)栁鞅桓锫?，一輛載滿(mǎn)因政治分歧和宗教背景而被拘的示威者的警車(chē)從暴亂的抗議人群中呼嘯而過(guò)。他們可否克服分歧來(lái)爭取一線(xiàn)生機？