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：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：

我國(guó)東北某村的趙老頭在女兒婚姻自主的問(wèn)題上十分落后保守。堅(jiān)持包辦婚姻，而女兒趙小蘭早已有自己的心上人。在村領(lǐng)導(dǎo)的幫助和教育下，趙老頭經(jīng)過(guò)一系列事實(shí)的教育和村主席、婦女主任的勸說(shuō)，思想終于有了轉(zhuǎn)變，認(rèn)識(shí)到封建包辦買賣婚姻的害處和自由式由婚姻的好處。趙小蘭和青年周永剛登記結(jié)婚，一家人沉浸在幸福的歡笑聲中。

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：

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?，F(xiàn)在拉金一家即將經(jīng)歷另一場(chǎng)悲劇：交通燈閃爍著可怕的警告，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…

簡(jiǎn)介：影片講述了主人公韓郝（樊少皇 飾）為了營(yíng)救意外被困秘密實(shí)驗(yàn)室的兒子，勇往直前與不明生物“人魚”斗智斗勇，憑借著堅(jiān)韌的信念和超群的智慧帶領(lǐng)被困小隊(duì)，歷經(jīng)重重危機(jī)。一場(chǎng)緊張刺激的生死逃亡就此展開(kāi)……

簡(jiǎn)介：盡管醫(yī)生生性善良，工作努力，但他和女友美美之間的關(guān)系卻一直都不是那么融洽，因?yàn)槊烂缹?shí)在是太強(qiáng)勢(shì)了，積怨隨著時(shí)間的推移慢慢增加，最終，醫(yī)生決定同美美分手。一次偶然中，醫(yī)生邂逅了墜樓受傷的神秘女子，一來(lái)二去之間，兩人距離越來(lái)越近，產(chǎn)生了真摯的感情。深感遭到男友背叛的美美跟蹤醫(yī)生，卻震驚的發(fā)現(xiàn)該神秘的“第三者”乃至其家人竟然都是鬼魂。醫(yī)生自然不相信美美所說(shuō)的“真相”，他攜同事國(guó)明向電視節(jié)目中的驅(qū)鬼大師尋求幫助。在大師的幫助下，醫(yī)生終于知道，女子之所以未能輪回轉(zhuǎn)世依然流連人間的原因，和當(dāng)?shù)匾粋€(gè)兇殘的犯罪集團(tuán)有著千絲萬(wàn)縷的聯(lián)系。

簡(jiǎn)介：1957年，周周恩來(lái)受中共中央委派，到莫斯科同蘇共領(lǐng)導(dǎo)人會(huì)談，一下飛機(jī)就受到了蘇聯(lián)人民的熱烈歡迎。

簡(jiǎn)介：根據(jù)李犟小說(shuō)《冰化雪消》改編。1955年農(nóng)業(yè)合作化時(shí)期，紅旗農(nóng)業(yè)社副社長(zhǎng)劉麥鬧在成績(jī)面前驕傲自滿。曙光社社長(zhǎng)魏虎頭在副社長(zhǎng)劉二興的影響下，不重視農(nóng)業(yè)生產(chǎn)。劉麥鬧對(duì)魏虎頭的錯(cuò)誤諷刺打擊...

簡(jiǎn)介：　　分子生物學(xué)導(dǎo)師范健教授和學(xué)生楊小光始終致力于基因變異方面的研究，學(xué)渣屌絲楊小光無(wú)意中偷窺到范健教授誤用基因變異藥水致死。并發(fā)現(xiàn)了教授創(chuàng)世紀(jì)的發(fā)明——基因變異病毒，卻也因此感染了基因變異病毒，生命垂危。不曾想楊小光卻因此涅槃重生般徹底改變了自己的染色體序列，DNA重新定義，獲得了遠(yuǎn)超于常人的超能力，就在楊曉光躊躇滿志之時(shí)，一個(gè)黑影卻要致其于死地......

簡(jiǎn)介：豐收季節(jié)，學(xué)校放農(nóng)忙假。春梅的女兒杏姑和四媽的兒子桃生都幫生產(chǎn)隊(duì)撿麥子，春梅熱情地鼓勵(lì)孩子們聽(tīng)老師的話，把麥子送到隊(duì)里去，顆粒歸倉(cāng)；四媽卻教兒子把麥子拿家去做粑吃，還給他錢和東西，教他“會(huì)扒家來(lái)吃穿有?！?。春梅從孩子們的爭(zhēng)執(zhí)和四媽的言行中認(rèn)識(shí)到問(wèn)題的嚴(yán)重性，她趁著與四媽一起做家務(wù)的機(jī)會(huì)，以談家常的方式，幫助四媽提高認(rèn)識(shí)，告訴她不能寵壞了孩子，不能把自私自利的思想傳給后代，把孩子引到岔路上去。開(kāi)始，春梅語(yǔ)重心長(zhǎng)的話不為四媽所接受，并因而受到丈夫老李的埋怨，但她認(rèn)為自己這樣做沒(méi)有錯(cuò)，并不灰心。她從“貧下中農(nóng)的子女不管好，怎做革命的接班人”這樣一個(gè)思想高度出發(fā)，幫助老李提高了認(rèn)識(shí)，并爭(zhēng)取他一起對(duì)四媽進(jìn)行幫助。由于受四媽錯(cuò)誤思想的影響，桃生產(chǎn)生了自私自利思想，他為了博取母親的歡心，換得更多吃的和花的，竟到生產(chǎn)隊(duì)的麥種田里用剪刀剪麥子，損害了集體的利益。春梅立刻把這樣嚴(yán)重的事實(shí)告訴了四媽，并對(duì)四媽進(jìn)行嚴(yán)肅的批評(píng)教育。在她的幫助下，四媽終于認(rèn)識(shí)到自己錯(cuò)誤的嚴(yán)重性，覺(jué)悟到“上梁不正下梁歪”，決心要把自私自利的毛病改掉，向春梅學(xué)習(xí)，要把熱愛(ài)集體、熱愛(ài)社會(huì)主義的好思想傳給后代。