簡介：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)備了一場感官的極致盛宴。每一次心跳，都是對(duì)寂寞長夜最有力的回?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。

簡介：聚焦青少年自殺、心理疾病等問題，講述一個(gè)深受社交恐懼折磨的高中生編造故事，試圖接近一個(gè)已自殺的同學(xué)的家庭。對(duì)“局外人”、心理創(chuàng)傷和人性的探討細(xì)膩、私人，觸動(dòng)心靈。

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巨豐財(cái)務(wù)有限公司的創(chuàng)辦人離世，其子馬鐵生接手公司，把高利貸生意越做越大。警察情報(bào)科對(duì)于巨豐財(cái)務(wù)以高年息放債一事早已記錄在案，奈何一直未有實(shí)質(zhì)證據(jù)，無法作出拘捕行動(dòng)。 情報(bào)科主管因病離世，警方高層張Sir將跟進(jìn)巨豐財(cái)務(wù)的重任交予重案組主管黃一聰處理。黃一聰在處理情報(bào)科主管的遺物時(shí)，發(fā)現(xiàn)情報(bào)科曾派出一名臥底混入巨豐財(cái)務(wù)搜集罪證。另一方面，馬鐵生不擇手段阻止警方調(diào)查，甚至不惜迫害巨豐的老臣子華叔……

簡介：　　可謂是葛蘭表演生涯中的一大突破，賦予她一個(gè)全新無憂無慮、自由自在、充滿青春活力、熱情奔放的「書院女」形象。影片以一段追尋生母的情節(jié)，暗喻香港的成長與獨(dú)立。舊電影本身而言，賞心悅目的連場歌舞和青春氣息，叫人忍不住一看再看！

簡介：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，熱愛祖國。

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《昭君出塞》 演員：尚小云(王昭君)蕭盛萱(王龍)尚長春(馬夫) 京劇《漢明妃》中的一折。

簡介：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.

簡介：該片改編自2009年奇坦·巴哈特同名小說，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)愛情遇上未來，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)來自印度不同階層、不同文化背景的兩個(gè)年輕人，深深相愛且準(zhǔn)備結(jié)婚。當(dāng)然，他們的父母并不同意。為了能把他們的愛情轉(zhuǎn)化為婚姻，他們需要在長輩面前進(jìn)行一場艱苦的戰(zhàn)役。叛逆和斗爭都是簡單易行的，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。

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黃文展“狗頭”（任達(dá)華 飾）和何家寶“豬女”（徐子珊 飾）是香港CIB（Criminal Intelligence Bureau）的職員。CIB俗稱香港警察中的狗仔隊(duì)，里面人人行動(dòng)低調(diào)樣貌平凡，但卻對(duì)罪犯有極其靈敏的嗅覺。

簡介：少女時(shí)期不幸失明的整骨師艾瑪活得積極獨(dú)立，社交圈不大但充滿溫暖。剛結(jié)束婚姻的她，依然每天拄著手杖滿城趴趴走，不讓生活跟視力一樣滑入黑暗。一天，她在漆黑的感官博物館，邂逅了帥氣廣告人泰歐。泰歐是事業(yè)擺第一的情場玩家，內(nèi)有女友外有床伴，從未真的對(duì)誰敞開心房。艾瑪?shù)某霈F(xiàn)，迅速觸碰到泰歐的情感核心。然而現(xiàn)實(shí)與人性，才是等在后頭的艱難考驗(yàn)。兩個(gè)迥異的個(gè)體，一場見與不見的激情。情愛的摸索之道，誰，才是真正的明眼人？ 激情過后，誰才是真正的明眼人？

簡介：《撞邪31號(hào)》講述的是一段因設(shè)計(jì)師宇浩與熱戀女友安妮因工作入住31號(hào)別墅而引發(fā)一系列離奇事件的故事。別墅半夜經(jīng)常有鬼影出現(xiàn)，被居民定義為鬼宅。鬼影在炎炎夏日蓄謀攻擊女友安妮，深夜中幾度與安妮交手。事情惡化，宇浩被不明魂魄拖下深水險(xiǎn)些喪命，之后托夢(mèng)物品被盜，宇浩被誣陷，他決定要找出鬼魂還自己清白……

簡介：穆斯林恐怖組織勢力日益強(qiáng)大，為了挫敗他們的國際陰謀，F(xiàn)BI探員羅伊·克萊頓被派遣著手調(diào)查。然而在調(diào)查中，他意外發(fā)現(xiàn)，許多線索表明前特戰(zhàn)軍官塞莫·霍恩與某恐怖組織有著密切的聯(lián)系?；舳鞅臼荂IA臥底探員，蘇丹裔穆斯林的他很容易就打入了恐怖組織內(nèi)部。但窮追不舍搜索證據(jù)的克萊頓覺察出，如今的霍恩早已不是單純的臥底。隨著調(diào)查步步深入，事情的真相也漸漸浮出水面，可一切背后的復(fù)雜，遠(yuǎn)遠(yuǎn)超乎克萊頓的預(yù)料.