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?zhǔn)備了一場(chǎng)感官的極致盛宴。每一次心跳，都是對(duì)寂寞長(zhǎng)夜最有力的回?fù)?。探索未知，體驗(yàn)前所未有的私密與刺激。別再壓抑，點(diǎn)擊開啟屬于你的午夜狂歡。

簡(jiǎn)介：

在德克薩斯州一個(gè)小鎮(zhèn)的圣誕節(jié)喜慶氣氛中，兩姐妹發(fā)現(xiàn)自己卷入了一場(chǎng)危險(xiǎn)的斗爭(zhēng)，以保護(hù)她們的家庭財(cái)富和根深蒂固的宗教信仰。

簡(jiǎn)介：

大衛(wèi)（彼得·費(fèi)辛利 Peter Facinelli 飾）的妻子英年早逝，之后他遇見(jiàn)了名為勞倫（索菲亞·邁爾斯 Sophia Myles 飾）的女子，兩人墜入了情網(wǎng)，勞倫讓大衛(wèi)重新找到了人生的希望和目標(biāo)。大衛(wèi)和前妻生養(yǎng)了一個(gè)女兒取名吉爾（娜塔莉亞·羅蒙絲 Nathalia Ramos 飾），正直叛逆期的她獨(dú)自居住在哥倫比亞。

簡(jiǎn)介：一名曾經(jīng)炙熱的拳擊選手（樸成雄飾），在比賽過(guò)程中導(dǎo)致對(duì)方死亡，在監(jiān)獄服刑后想要誠(chéng)實(shí)生活；而他的一位朋友（吳代煥飾）卻在不擇手段地想要獲得成功?！　蓚€(gè)男人清算了過(guò)去，在過(guò)上新生活中，為選擇不同道路而萌生了殘酷陰謀，也導(dǎo)致了背叛。

簡(jiǎn)介：春的伴侶、精神科醫(yī)生宗一郎離開了她。春碰巧幫助了一位失憶的陌生年輕男人。春的弟弟毅是一位說(shuō)唱歌手，他的妻子美香子支持著他的事業(yè)，同時(shí)撫養(yǎng)他們的孩子。美香子因?yàn)樾睦砑膊∏笾谧谝焕?。在毅的一次現(xiàn)場(chǎng)表演上，毅和宗一郎陷入爭(zhēng)執(zhí)。年輕男人離開了春，而美香子離開了毅……

簡(jiǎn)介：故事發(fā)生在圣米歇爾，蒙特利爾貧民區(qū)，也被稱為犯罪問(wèn)題嚴(yán)重的地方。羅納德是一個(gè)年輕的混血兒，在他八歲的時(shí)候他看見(jiàn)父親謀殺了他的媽媽，這就是為什么他等待著有一天當(dāng)他終于可以為自己的媽媽的死負(fù)責(zé)。羅納德一直是街頭暴力團(tuán)伙重要成員。..

簡(jiǎn)介：宮澤飾演的主人公井川迅因?yàn)楹ε卤恢車酥雷约菏莋ay而獨(dú)自從東京來(lái)到鄉(xiāng)下，他曾經(jīng)喜歡的日比野渚（藤原季節(jié)）卻時(shí)隔8年帶著女兒再次出現(xiàn)。

簡(jiǎn)介：想過(guò)自己為何會(huì)單身嗎？單身理由千百種，有人是因?yàn)閻?ài)抱怨，有人是因?yàn)樘ㄐ?，也有人是因?yàn)樘那唷５×盏睦碛删故且驗(yàn)椤缚吹玫焦怼?。被甩之后，她決定收拾心情、背起行囊，一人踏上失戀療傷之旅。小琳孤身前往泰北的丘媚潘步道療傷，因此遇見(jiàn)小普，這個(gè)在感情和工作方面雙雙受挫的魯蛇編劇，為了尋找寫鬼片劇本的靈感，想找看得到鬼的人幫忙，兩個(gè)低潮的人意外相遇，并展開了一連串的冒險(xiǎn)。

簡(jiǎn)介：該片改編自2009年奇坦·巴哈特同名小說(shuō)，講述一個(gè)旁遮普小伙子克里斯與一位泰米爾婆羅門女孩阿娜婭從相戀到坎坷步入婚姻殿堂的故事。當(dāng)一個(gè)精明的男人遇上一個(gè)聰明的女人，是雙劍合璧還是明搶暗奪？當(dāng)蠻橫無(wú)理的婆婆遇上自以為是的老媽，是不共戴天還是你死我活？當(dāng)愛(ài)情遇上未來(lái)，婚姻遇上幫派，當(dāng)他們不得不面對(duì)分離、背叛、利用、文化分歧、不正常的家庭、歇斯底里的親友、勾心斗角的環(huán)境……　　作品創(chuàng)作靈感源于作者和妻子的真實(shí)經(jīng)歷：兩個(gè)來(lái)自印度不同階層、不同文化背景的兩個(gè)年輕人，深深相愛(ài)且準(zhǔn)備結(jié)婚。當(dāng)然，他們的父母并不同意。為了能把他們的愛(ài)情轉(zhuǎn)化為婚姻，他們需要在長(zhǎng)輩面前進(jìn)行一場(chǎng)艱苦的戰(zhàn)役。叛逆和斗爭(zhēng)都是簡(jiǎn)單易行的，但是要成功就難了。他們能做到嗎？他們是克服了重重阻撓，還是為了不得已的苦衷而半途放棄？　　近些年，奇坦·巴哈特的作品不斷被改編成電影搬上銀幕，如《熱線你我他》《三個(gè)白癡》《斷線人生》等。

簡(jiǎn)介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

簡(jiǎn)介：一群身在異鄉(xiāng)的海外華人用生命捍衛(wèi)著“華人團(tuán)結(jié)”這幾個(gè)字。當(dāng)他們面對(duì)親人被綁架時(shí)勇敢挺身為尊嚴(yán)而戰(zhàn)。他們不曾忘記自己是炎黃子孫而永斗武裝悍匪并成功解救被綁架人質(zhì)。本片表達(dá)了在“外”漂泊的游子想回到我們?nèi)找鎻?qiáng)大的祖國(guó)母親懷抱的迫切心情，喚起生活在和平社會(huì)的我們要珍惜當(dāng)下，熱愛(ài)祖國(guó)。

簡(jiǎn)介：老楊（韓非 飾）是前進(jìn)傘廠的廠長(zhǎng)，由于平日只重?cái)?shù)量、不顧質(zhì)量，相親時(shí)鬧出大笑話。一日，他挑一把出本廠生產(chǎn)的自動(dòng)傘，托未婚妻小金（張文蓉 飾）贈(zèng)予未來(lái)的丈母娘（孫景璐 飾）。結(jié)果，大媽拿著這把傘接連闖了許多“禍”。而老楊則堅(jiān)決不承認(rèn)傘有質(zhì)量問(wèn)題，硬說(shuō)別人使用不當(dāng)，而他自己卻被傘簧夾破了手。下雨天，好多顧客由于使用了前進(jìn)廠的傘，鬧出不少笑話和麻煩。在餐廳相親時(shí)，大媽認(rèn)出了老楊就是傘廠的廠長(zhǎng)，和周圍顧客一起圍攏住他，批評(píng)他不抓產(chǎn)品質(zhì)量，生產(chǎn)出這種讓人心煩的“缺德傘”，并生氣地將女兒拉回家。老楊痛定思痛，決心狠抓產(chǎn)品質(zhì)量......