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(kāi)啟屬于你的午夜狂歡。

簡(jiǎn)介：東北諾敏河附近的農(nóng)民在黨的領(lǐng)導(dǎo)下，展開(kāi)了互助合作運(yùn)動(dòng)。

簡(jiǎn)介：赫伯特的女朋友離開(kāi)他之后，赫伯特非常沮喪，開(kāi)始找工作。他終于在一個(gè)大房子里找到了一個(gè)，里面住著許多女人。他能和所有這些女人住在同一個(gè)家嗎？

簡(jiǎn)介：影片是導(dǎo)演希區(qū)柯克在1930年根據(jù)希恩·奧凱西的舞臺(tái)劇改編成的。同樣這部影片也是被稱(chēng)為“懸念大師”的希區(qū)柯克的早期作品。 　　什么是懸念？希區(qū)柯克曾經(jīng)給懸念下過(guò)一個(gè)著名的定義：如果你要表現(xiàn)一群人圍著一張桌子玩牌，然后突然一聲爆炸，那么你便只能拍到一個(gè)十分呆板的炸后一驚的場(chǎng)面。另一方面，雖然你是表現(xiàn)這同一場(chǎng)面，但是在打牌開(kāi)始之前，先表現(xiàn)桌子下面的定時(shí)炸彈，那么你就造成了懸念，并牽動(dòng)觀眾的心。 　　《朱諾與孔雀》著重體現(xiàn)戰(zhàn)爭(zhēng)年代人們的生活狀態(tài)，精妙的構(gòu)思以及故事的突然轉(zhuǎn)折，無(wú)不體現(xiàn)了懸念的魅力！ 　　愛(ài)爾蘭的局勢(shì)動(dòng)蕩不安，公民黨執(zhí)政，四處抓捕對(duì)立派，鎮(zhèn)壓集會(huì)，政府認(rèn)為地下組織準(zhǔn)備起義推翻政府，重建新的國(guó)家。 　　就這樣，愛(ài)爾蘭人民沒(méi)有安寧的日子，人們討厭戰(zhàn)爭(zhēng)和暴政，真想把執(zhí)政黨趕下臺(tái)，對(duì)國(guó)家完全失去了希望，每個(gè)夜晚都擔(dān)驚受怕。而且在艱難的日子里，所有人都很難找到工作，“船長(zhǎng)”伯爾夢(mèng)想出海，巨大的家庭債務(wù)讓他頭痛不已，如何生存下去成為了非常嚴(yán)峻的問(wèn)題。當(dāng)他走投無(wú)路時(shí)，朋友饋贈(zèng)給他一筆遺產(chǎn)解了燃眉之急，可也讓他放棄了夢(mèng)想，他更加懶惰了，不再尋找工作，很快錢(qián)用完了，家里又變得一貧如洗，災(zāi)難再次降臨他的頭上，女兒身患絕癥無(wú)錢(qián)醫(yī)治，兒子也被警察以叛黨罪逮捕槍殺，面臨災(zāi)難，伯爾拋下可憐的妻子走了。

簡(jiǎn)介：描寫(xiě)一個(gè)青年復(fù)員護(hù)士，為了搶救被臺(tái)風(fēng)襲擊的受災(zāi)地區(qū)人民財(cái)產(chǎn)的安全，使喉嚨受到損傷，影響了復(fù)試成績(jī)，經(jīng)調(diào)查后被錄取為正式學(xué)員，同時(shí)也表現(xiàn)了老教授在工作中的認(rèn)真負(fù)責(zé)深入調(diào)查，才沒(méi)有使真正有具音樂(lè)才能的人被埋沒(méi)。

簡(jiǎn)介：新年前夜，死亡幽靈般的兇手，利用跨年煙花的掩護(hù)，在市中心的一棟大樓，大規(guī)模遠(yuǎn)程射擊槍其他高層樓上狂歡的人群，緊接著射出子彈的大樓房間發(fā)生爆炸。此神秘案件遇難者人數(shù)眾多，留下的線索極少。　　當(dāng)?shù)啬贻p女警艾麗諾的敏銳判斷吸引 了負(fù)責(zé)調(diào)查此案的聯(lián)邦調(diào)查局長(zhǎng)官蘭馬克的注意，二人攜手接近那冷酷的、危險(xiǎn)的、驚人的真相。

簡(jiǎn)介：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.

簡(jiǎn)介：阿茂是市政府清潔工人，為人憨直善良。某日，匪徒意外地將糧款袋掛在阿茂的垃圾車(chē)上。茂下班時(shí)見(jiàn)袋，但因匆忙赴女友琳琳之約，乃不經(jīng)意將之置放床下。茂至琳琳家做客，向琳母提親，琳母要送女家六十桌酒席。茂為了盡早解決六十桌酒席費(fèi)用，和同房阿福往找兼職，二人做收租員，按址收租，發(fā)現(xiàn)原來(lái)全是大檔……

簡(jiǎn)介：影片以阿爾及爾為背景,表現(xiàn)一個(gè)強(qiáng)盜遭到警察的追捕,只能在阿爾及爾的卡斯巴平民區(qū)一帶逃竄,躲藏.最后,他企圖同他的情人一起逃到巴黎,從此擺脫非人生活，但是,"命運(yùn)"卻使他無(wú)法搭船,只得憤而自殺.法國(guó)詩(shī)意現(xiàn)實(shí)主義代表作.

簡(jiǎn)介：　　飛碟劃破維港上空，引來(lái)一陣騷動(dòng)。外星少女（甄珍）帶來(lái)重要的訊息，可是**、電視臺(tái)、法官、議員無(wú)人理會(huì)；化身校工阿珍，反引起記者的注意，她將計(jì)就計(jì)……龍剛藉科幻橋段，審視世人的弱點(diǎn)。貪婪、**把世人吞噬，就像《小王子》的蛇吞象圖，大家卻視而不見(jiàn)。阿珍同情低下層，為受苦的人犧牲，比修女們更具宗教情操。對(duì)於她是否外星人，最后仍眾說(shuō)紛紜。肥修女說(shuō)，她愛(ài)人如己，地球還有這樣的人嗎？

簡(jiǎn)介：因?yàn)槟鏈貙樱潞谔m的空氣污染已經(jīng)達(dá)到峰值。妮路法，一個(gè)35歲的女人，自己開(kāi)了一家縫紉作坊，和母親住在一起。醫(yī)生告知她母親必須永遠(yuǎn)搬離德黑蘭，因?yàn)樗粑到y(tǒng)的狀況已經(jīng)不適合再在這里居住。這時(shí)，妮路法找到了她的老情人。 妮路法的哥哥和家里的長(zhǎng)輩們決定應(yīng)該由妮路法陪著母親離開(kāi)，因?yàn)樗羌依镒钚〉暮⒆?，還依然單身無(wú)子，而且她以前一直都順從于他們的命令。但這一次，情況不一樣了，她要奮起抵抗其他人給她做出的決定。

簡(jiǎn)介：

在一個(gè)寂靜的南方小鎮(zhèn)，拉金一家遭遇了一場(chǎng)可怕的悲劇。現(xiàn)在拉金一家即將經(jīng)歷另一場(chǎng)悲?。航煌糸W爍著可怕的警告，鬼影在街道上徘徊，墳?zāi)箯漠?dāng)?shù)啬沟刂杏砍?，恐怖無(wú)情地行進(jìn)……在渾濁的河面下，一個(gè)不斷移動(dòng)的、幾乎是人形的物體慢慢成形，尋求可怕的復(fù)仇…