簡(jiǎn)介：17歲女孩安妮愛(ài)上了中學(xué)里最受歡迎的女生薩沙，并為此頗為苦惱。當(dāng)她把這件事告訴了她的男閨蜜克里夫頓后，一直暗戀她的克里夫頓想盡辦法進(jìn)行阻撓。　　本片由Kerem Sanga自編自導(dǎo)，根據(jù)其妹妹的真實(shí)經(jīng)歷改編。

簡(jiǎn)介：

林·奧汀執(zhí)導(dǎo)，布倫頓·思韋茨、簡(jiǎn)·拉維主演的喜劇電影[辦公室僵尸起義]已被多家公司購(gòu)得在法國(guó)、拉美、俄羅斯、中國(guó)等國(guó)家的發(fā)行權(quán)。 該片由伊安·肖爾、J·彼得·羅賓遜編劇，講述一名武器制造工人從一棟危機(jī)四伏的辦公樓營(yíng)救心愛(ài)人的故事。

簡(jiǎn)介：政治部警官任達(dá)華，在追查一宗軍火案時(shí)，懷疑機(jī)場(chǎng)海關(guān)貨倉(cāng)主管苗僑偉為案中內(nèi)鬼，苗被停職調(diào)查，后更被殺?！　∶绲拿妹螟P及妹夫呂俱為特警隊(duì)督察，懷疑苗之死與任有關(guān)，決定調(diào)查?！　s原來(lái)軍火案乃苗之上司威龍與黑幫頭子高飛合作，為怕苗礙事，將他殺死。現(xiàn)更設(shè)計(jì)陷害呂一家人。呂之女兒恩恩更無(wú)辜慘死。呂、鳳誓報(bào)此仇，展開(kāi)一場(chǎng)惡斗。

簡(jiǎn)介：山姆（甘國(guó)亮 飾）將妻兒送往加拿大后只身一人返回香港，卻發(fā)現(xiàn)自己在公司里的位置早已經(jīng)被人替代。阿珍（恬妞 飾）和丈夫也決定移民加拿大，和山姆不同，阿珍的丈夫先走一步去站穩(wěn)腳跟，留下阿珍在香港靜候佳音。一連串的意外后，山姆和阿珍相識(shí)了?！　“⒄鋼碛忻利惖耐獗?，因此在公司里格外受上司的青睞，但當(dāng)阿珍接連拒絕了上司的圖謀不軌之后，惱羞成怒的上司將她降職了。平日里，無(wú)人傾訴的山姆和阿珍，將彼此當(dāng)成了生活中的靠山，互訴衷腸，隨著時(shí)間的推移，兩人之間不可自持的產(chǎn)生了感情。就在他們享受著禁果的甜美時(shí)，山姆的妻子的出現(xiàn)打破了兩人的美夢(mèng)。

簡(jiǎn)介：講述了以單身生活為題材的隨筆為媒介，相克男女再次提起對(duì)過(guò)去愛(ài)情的傷痛并展開(kāi)的一系列故事

簡(jiǎn)介：　　It’s winter in France, the light is dull, the camera pans over a snowy wasteland and enters a massive construction of steel and glass that is open at the sides, stopping in front of the reproduction of a wooden ship. The structure that juts out over the upper deck is inscribed with the words ‘Liberté, égalité, Fraternité’.
　　Med Hondo uses this tracking shot to establish the setting of his feature film West Indies ou les nègres marrons de la liberté (1979), while opening up a much larger space to the imagination at the same time. The ship turns out to be a most versatile stage for a grotesque narrative of colonialism, slavery and the struggle for independence in the French West Indies. Med Hondo explores his many themes in this limited space, whether it be the Middle Passage, marronage, abolition or the history of labour migration to France. The film marries an aesthetics of thrift with the flamboyance of a musical; different time periods glide into one other as elegantly as the geographical points of reference; and only occasionally do the actors’ visible exhalations, an alienation effect created by the cold, remind us that West Indies was not shot on Martinique.

簡(jiǎn)介：氣候干燥的玻利維亞高地，一對(duì)年邁的、以放牧羊駝為生的克丘亞族夫婦一直在這里過(guò)著相濡以沫的生活。但一場(chǎng)多年難遇的大旱災(zāi)讓他們本就拮據(jù)的生活雪上加霜，這不僅威脅到他們自己，還威脅到整個(gè)村莊的存亡。夫妻倆的孫子聞?dòng)崗某鞘蟹祷?，想讓他們與自己一起進(jìn)城生活，但這對(duì)早已習(xí)慣鄉(xiāng)村生活的夫妻倆來(lái)說(shuō)，又是一個(gè)嚴(yán)酷的挑戰(zhàn)。兩代、三人將以不同的方式看待社會(huì)與自然的變化，以及生命的意義。

簡(jiǎn)介：

講述一對(duì)被錯(cuò)配的情侶，互相解決各自的感情問(wèn)題，努力尋求真愛(ài)的故事。

簡(jiǎn)介：Alice and Niklas are happy, they lack nothing - but a child. After several failed invitros, they go on a holiday to Sardinia to leave their wish for a child behind. Right there, however, everything they tried to repress resurfaces. A cheerful Tyrolean family moves directly into the neighboring house and seems to have everything that Alice and Niklas lack in life. An unforeseen incident changes their view on life, in which the most natural thing in the world does not avail.