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)簟Ｌ剿魑粗?，體驗(yàn)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：81-year-old master, Jean-Marie Straub, once again invents and surprises with his latest film. Kommunisten consists of six parts, five of which have been taken from his earlier works. Straub does not aim to be self-reverential, but instead wants to make different blocks (of text, time, and languages) clash so as to highlight invisible elements of feelings and politics. It is a film about human adventure, from the past century to the one ahead. In this project, all the things that the films of Jean-Marie Straub and Danièle Huillet have been based on for the past fifty years, find their most raw and recent form.

簡(jiǎn)介：A vision of Colombia's inhuman armed conflict, seen through the eyes of a young - and pregnant - girl soldier.

簡(jiǎn)介：這是一個(gè)關(guān)于搖滾、愛(ài)情和友誼的故事。列寧格勒，80年代初的一個(gè)夏天：搖滾音樂(lè)在當(dāng)?shù)仫L(fēng)靡一時(shí)。Viktor Tso?是位年輕的音樂(lè)家，就像其他年輕人一樣，他也被齊柏林飛船和大衛(wèi)·鮑伊的音樂(lè)所吸引，并嘗試在搖滾樂(lè)壇上闖出一片名堂。一天，他遇到了偶像Mike和他漂亮的妻子Natacha。這次邂逅使他的命運(yùn)發(fā)生了巨大轉(zhuǎn)變。他們?nèi)藢⒁煌瑢?xiě)就Viktor的傳奇，使他名留青史。

簡(jiǎn)介：Thirteen years old Marek shoots videos with social themes, making him an outsider among his classmates. At home, his peaceful relationship with his mother is disrupted by his mother's new acquaintance. In the most sensitive phase of his life, Tereza enters his path. Despite their social differences, they develop a liking for each other. Soon teenage games spiral out of control ...

簡(jiǎn)介：挪威游戲玩家馬茨·斯蒂恩因退行性肌肉疾病在 25 歲時(shí)去世。當(dāng)他的父母開(kāi)始收到來(lái)自世界各地的網(wǎng)友發(fā)來(lái)的信息時(shí)，他們?yōu)樽约罕疽詾楣陋?dú)和與世隔絕的生活而感到悲痛。

簡(jiǎn)介：當(dāng)夜幕降臨，玩家閉上眼時(shí)，狼人出沒(méi)，村民成為受害者。改編自經(jīng)典卡牌游戲《米勒山谷狼人》。

簡(jiǎn)介：本片改編自金惠珍的同名暢銷書(shū)籍。聚焦女性性少數(shù)群體和孤寡老人等社會(huì)邊緣群體，講述一位酷兒與母親達(dá)到“最佳理解”的過(guò)程，獨(dú)立的女兒因經(jīng)濟(jì)問(wèn)題搬來(lái)與母親同住，她將同性伴侶也帶回了家。母親很困惑。與此同時(shí)，身為護(hù)工的母親盡最大努力照顧著年老體弱、沒(méi)有家人的老人。 　　“偏見(jiàn)與同情心在一位50多歲的女性身上發(fā)生了碰撞，她在養(yǎng)老院擔(dān)任護(hù)工，在韓國(guó)迅速變化的社會(huì)環(huán)境中為自己和女兒的未來(lái)感到擔(dān)憂。”