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?zhǔn)備了一場感官的極致盛宴。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。

簡介：Two women spend a weekend together at the North Sea. Walks on the beach, fish buns at a snack stand, mobile weather forecasts. Sky, horizon, water. One of them will soon return to her family in Argentina while the other one will try to come a step closer to the ocean. She travels to the Caribbean and the foreign makes her vulnerable. Then, the land is out of sight. On a sailing vessel she crosses the Atlantic Ocean. One wave follows the other, they never resemble. Thoughts go astray, time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. And when the other one reappears in it, the wind is still in her hair while the ground beneath her feet is solid. She returns and the one of them could ask Have you changed

簡介：To chase her dream of going to school in her remote Himalayan village, a feisty paraplegic girl locks horns with her tradition-bound grandfather.　　Sprightly Chuskit's dream of going to school is cut short when she is rendered a paraplegic after an accident. She's confined to life indoors in the company of her strict grandfather, Dorje. Chuskit continues to harbor hopes of school but Dorje tries to make her understand that school can't handle her needs. As life at home gets harder, her battle with her grandfather exacerbates. Caught in between their struggle are Chuskit's parents and her enterprising brother who want to respect the old world views that Dorje represents, but also want to keep Chuskit's spirit alive. Chuskit will have to get her grandfather to yield or she will have to accept the reality he has chosen for her.

簡介：In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.　　The Devil's Trap is a film directed by Franti?ek Vláil, based on a novel by Alfréd Technik, adapted by Franti?ek A. Dvorák and Milo? Kratochvíl. It was the first of three historical dramas that Vláil made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).　　Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.　　As expected from Vláil, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.　　Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.　　The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.　　Acting is great all around. Particularly the villains Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.　　The film also features the evocative music of Zdenk Li?ka (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vláil, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.　　The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vláil's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.

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博物館門衛(wèi)幫助了神秘的訪客，巨大的維也納藝術(shù)史藝術(shù)博物館成為一個神秘的十字路口，閃爍著探索的火花，關(guān)于他們的生命的、城市，以及反映和塑造世界的方式。

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為給身患重病的父親交付醫(yī)藥費，電工文斯（薩姆·賴?yán)?Sam Riley飾）不得已賣掉了房子。一次偶然的機會，文斯在他修理的房間里得到房主的一封神秘信件和一張不知道終點的火車票。一面是房主的離奇意外死亡和完全未知的危險旅程，一面是一筆足夠改寫人生的巨額財富，文斯最終還是決 定踏上這次神秘旅程。然而當(dāng)他抵達隱蔽的目的地之后，等待他的卻是一場無法全身而退的瘋狂殺人游戲。本片翻拍自2005年法國犯罪驚悚影片《百萬殺人游戲》（13 Tzameti），依舊由原作導(dǎo)演兼編劇的格拉·巴布魯阿尼執(zhí)導(dǎo)與編劇。薩姆·賴?yán)?、米基·洛克、杰森·斯坦森、雷·溫斯頓等多位硬漢同臺演繹這場生死博弈

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她的新丈夫是一個英俊而富有的男人，但他卻被一個日本人殺死，甚至在她和他一起度過了一個晚上。馬尼姆獨自在大房子里再次。在丈夫身邊的葉子只有爺爺和奴仆叫BAU的每個人都留下。一天，馬尼姆注意到BAU一直盯著她看，她是一個奇怪的感覺，克服。她會因為她短暫的婚姻和嚴(yán)格的身份而壓迫自己的欲望。BAU從未愛上一個女人，她不介意他在注視著她。他們兩個開始一個被禁止的愛在祖父背后…

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1961年，我國國民經(jīng)濟正處于嚴(yán)重困難時期，中共中央起草了《人民公社工作條例（草案）》（簡稱《60條》）。4月1日，國家主席劉少奇回故鄉(xiāng)湖南，考察農(nóng)村工作。當(dāng)他看見一雙雙饑餓的眼睛和一張張狼吞虎咽的嘴時，對《60條》是否符合農(nóng)村實情產(chǎn)生了疑問。他召開干部座談會聽取意見，與會者卻閃爍其辭。劉少奇于是到群眾中去，與老百姓直接交流，了解到了人們對公共食堂的反感。他把得到的情況寫信向毛主席匯報。

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一次出診中，包法利醫(yī)生（讓-弗朗索瓦·巴爾梅 Jean-Fran?ois Balmer）和年輕的女孩艾瑪（伊莎貝爾·于佩爾 Isabelle Huppert 飾）相遇了，艾瑪?shù)募兦楹兔利愖屷t(yī)生迅速墜入了情網(wǎng)，兩人隨即結(jié)婚?；楹蟮纳畈⒉蝗绨斔孟氲哪菢映錆M了樂趣和激情，是帥氣的雷翁（盧卡斯·貝爾沃克斯 Lucas Belvaux 飾）的出現(xiàn)讓艾瑪重新快樂了起來，但他的離開帶來的則是更深的痛苦和絕望。富豪魯?shù)婪颍死锼雇懈ァゑR拉沃伊 Christophe Malavoy 飾）貪戀艾瑪?shù)拿郎o予了她諸多的空洞承諾，而為了配得上魯?shù)婪?，艾瑪不惜賒賬購入首飾與華服。在約定好私奔的那一天，魯?shù)婪蚴Ъs了，大受打擊的艾瑪一病不起。 　　在丈夫的照料下，艾瑪漸漸康復(fù)，在一場音樂會上，她與雷翁重逢了，與后者打的火熱的日子里，艾瑪絲毫沒有察覺自己早已債臺高筑。而當(dāng)催債的...

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由于小時候的交通事故，“我”的性格和個性因星期幾而不同，他們以星期幾的名字互相稱呼，其中“星期二”是最樸素?zé)o聊的存在，是從其他星期開始被強加家里打掃等麻煩事的角色。但是，有一天，忙了整天后躺在床上的“星期二”在星期三醒來。我心中的“星期三”消失了，“星期二”歌頌星期三，但日常生活漸漸變成了恐怖。

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一個女青年（楊童舒 飾）應(yīng)聘到一家工廠，一進工廠就遇到難題就崩潰就沖動，一沖動就受傷就住進醫(yī)院，一進醫(yī)院里她就遇到了醫(yī)生（莫少聰 飾）就遇到了愛情，一遇到愛情就陶醉就遇到了麻煩，一遇到麻煩就發(fā)現(xiàn)問題就...

簡介：現(xiàn)年25歲的厚生勞動省官員鷹野工作繁忙，掙扎于理想與現(xiàn)實之間。他看到一份“因非正規(guī)就業(yè)而自殺者”名單上有位與自己同齡的年輕人，便開始調(diào)查其死亡原因。翠是一位三十多歲的剪紙藝術(shù)家，盡管也想生孩子，但與丈夫的關(guān)系讓她感到不自在。中學(xué)二年級的一名班長在幫助朋友后遭到欺凌，為了不讓單親母親擔(dān)心，他獨自保守著秘密。三人的生命交錯在一起時，語言的力量超越了時間，烏云密布的天空閃現(xiàn)出一絲希望。本片改編自英年早逝的和歌詩人萩原慎一郎所著的同名短歌集。