簡介：夜深人靜，白日的束縛悄然褪去，是時候迎接真實的自己。在這里，我們?yōu)槟鷾蕚淞艘粓龈泄俚臉O致盛宴。每一次心跳，都是對寂寞長夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點擊開啟屬于你的午夜狂歡。

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一名逃亡的朋克搖滾歌手和一名癡迷于他樂隊的年輕女子意外地墜入愛河，并一起在美國中西部衰敗的郊區(qū)進行了一次史詩般的旅程。

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在《大鳥和小鳥》中，獨特的、童話般的寓言不過是帕索里尼用來思考置身于無產(chǎn)階級和天主教會之間的小資產(chǎn)階級地位的手段。但這一思考是很不正統(tǒng)和幽默的。一個老人(托托)和他的兒子在公路上行走，從“思想王國"里來的一個會說話的烏鴉加入他倆的行列。這只烏鴉想向他們解釋他們生活中的各種矛盾，并給他們講了關于神圣的弗朗西斯、他的兩個學生、麻雀和 鷹的寓言。顯然，那只傳授理論的烏鴉是指意大利共 黨領袖陶里亞蒂。而神圣的弗朗西斯說的一段話則是教皇(保羅六世)在聯(lián)合國大會上為積極服務于社會的基督教所作的宣傳。最后烏鴉為自己而哭泣，并把自己奉獻給這兩個流浪者進食。這兩個人也真把它吃了。按帕索里尼的說法，他的影片是為了探討“抵抗運動期間和五十年代馬克思主義的危機"。影片并沒有引申出抽象的“信息"(除了馬克思主義承認新現(xiàn)實外)；相反卻表現(xiàn)了不同觀點的辯證關系。這些觀點互相中和，而且沒有一個觀點能對兩個小資產(chǎn)階級的或者流氓無產(chǎn)者的主人公產(chǎn)生持續(xù)的影響。

簡介：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.

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俄羅斯快遞小哥帕夏，偶然救了吸血鬼公主戴娜，身后一大波變形怪正在趕來，因為誰娶了公主，誰就能獲得戰(zhàn)勝白日的權力。俄羅斯聯(lián)邦安全局少校葛馬云聞風出動，意欲一網(wǎng)打盡，并化解危機。

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簡介：根據(jù)露易絲·艾爾德里希長篇小說《屠宰師歌唱俱樂部》改編，戰(zhàn)后有不少德國人去美國謀生，費德里斯也千里迢迢來到美國西部，為了開創(chuàng)新的生活，他干起了老本行…

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　　本片根據(jù)真人真事改編。
　　懷抱著救人理念的年輕醫(yī)生莫蒂默（休?丹西 Hugh Dancy 飾）因為和許多醫(yī)院的經(jīng)營理念不合，數(shù)度被辭退。在尋找工作的過程中，找到了達爾林善爾醫(yī)生的診所。這是一家專門服務女性，治療學名為“歇斯底里癥”疾病的地方。莫蒂默在這里學會了手指按摩法，也在這邂逅了醫(yī)生的2位性格迥異的女兒。姐姐夏洛蒂（瑪吉?吉倫哈爾 Maggie Gyllenhaal 飾）是位女權主義者，開著救濟所；而妹妹艾米麗（菲麗希緹?瓊斯 Felicity Jones 飾）則是位大家閨秀。醫(yī)院的生意越來越好，卻讓莫蒂默的手吃不消。因一次手痙攣，莫蒂默沒能讓一位顧客得到滿意，因此被醫(yī)生掃地出門?；氐脚笥寻５旅桑敳?艾弗雷特 Rupert Everett 飾）家中，看到其發(fā)明的電動雞毛撣，莫蒂默產(chǎn)生了一個奇妙的想法。而這個想法給女性們帶來福音和歡樂，無形中也支持著女性的解放。一出充滿趣味和愛意的故事就此上演。

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本片為工業(yè)題材，描寫九十年代中期，中國關稅降低，大批國外電腦品牌登陸中國市場，中國民營電腦企業(yè)受到了前所未有的強烈沖擊。主人公秦遠一直在扛著民族企業(yè)的大旗與外國電腦品牌分庭抗禮，由于我們沒有電腦的核心技術——CPU芯片，所以只能生產(chǎn)中國身軀外國心臟的電腦。在商戰(zhàn)中主人公秦遠與他的對手莊翔共同感受到?jīng)]有核心技術就會被打壓，就會被欺負，所以必須要自主研發(fā)中國的CPU——中國芯，才能真正的在IT市場上屹立不倒。最終兩個主人公聯(lián)手研發(fā)中國芯成功。

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12歲的薩拉·霍普金斯是家里最虔誠的一員。在一次去拜訪祖父的旅行中，薩拉確信她看到耶穌在她祖父最喜歡的釣魚點附近的河岸邊。通過這一神示，她發(fā)現(xiàn)自己能夠使死鳥復活。當然，家里沒有人相信她。但隨著時間的推移，他們發(fā)現(xiàn)薩拉能夠治愈一些相信她能“看見”的人，很快，她的家人、當?shù)厝?，甚至媒體都爭相要更多地了解這個“能創(chuàng)造奇跡”的小女孩。

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本片講述了一位經(jīng)驗豐富的女舞者，在她30年的表演生涯結束后，她必須為自己的未來做打算。作為一名年近五十的舞者，她掙扎著不知道接下來該做些什么。作為一名母親，她努力修復與女兒的關系，因為她的女兒常常被置于她那以歌舞表演為中心的家庭之后。