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：

Desperate after losing her dream job in advertising, Alice starts a sexy webcam site with three friends. Successful from day one, the company expands so quickly that soon the women struggle to balance their relationships with family, friends, clients and one-another. What began as a quick and sexy way to earn some extra cash spirals out of control as they enter a world of dange...

簡(jiǎn)介：

Gaby owns a farm on which he raises lambs: Bouchard & Sons Farm. But he has no sons. Rather, he has two daughters that he raised like princesses and who live far away, in the big city. One day, the oldest asks him for some financial support so she doesn't end up losing her house. Gaby, for whom fatherhood has evolved to a point where it became unreasonable, decides to dismantle...

簡(jiǎn)介：「革命無(wú)分性別、年齡與時(shí)代！電影取材自真實(shí)韓國(guó)獨(dú)立運(yùn)動(dòng)，以年輕革命女義士柳寬順為原型，見證一段鮮為人知的歷史。日佔(zhàn)時(shí)期，韓國(guó)爆發(fā)三一運(yùn)動(dòng)，十七歲少女上街帶領(lǐng)逾二百萬(wàn)韓國(guó)民眾抗?fàn)?，卻被捕囚禁在女子地下監(jiān)獄，受盡百般凌辱。她非但沒有噤若寒蟬，反而挺身感召其他囚犯打破沉默，從自我覺醒走向集體覺醒，在獄中共同高呼「大韓獨(dú)立萬(wàn)歲」的口號(hào)。黑白鏡頭下的獄中景象格外銳利，眾人以堅(jiān)毅的眼神明志：監(jiān)獄的高牆囚得住肉體，卻困不住自由的靈魂。高我星從《韓流怪嚇》嶄露頭角，到《末世列車》已成氣候，是次飾演烈女同樣鏗鏘有力。在最壞的時(shí)代，讓我們?yōu)檫@位巾幗英雄及所有因抗?fàn)帬奚牧x士獻(xiàn)一闋輓歌。

簡(jiǎn)介：　　這部片可以是加了幽默的《Akira》，添了人情味的《RoadRunner》，動(dòng)畫版的《低俗小說(shuō)》（Pulp Fiction）。一個(gè)關(guān)于一對(duì)新婚夫婦在新婚之夜發(fā)生的溫馨故事。丈夫格蘭特（Grant）突然得到奇異的超自然力量，與此同時(shí)妻子凱麗（Kerry）窘于應(yīng)付。無(wú)論何時(shí)，只要Grant一想什么，就會(huì)變?yōu)楝F(xiàn)實(shí)，盡管他并不知道這些魔力來(lái)自哪里。他從此成為清談節(jié)目的風(fēng)云人物。拉森·扎爾斯（Larson Giles），笑笑公司（Smile Corp.）老總，一個(gè)Ted Turner型媒體巨頭，派遣他的私家軍團(tuán)，由粗暴但無(wú)腦的菲古森（Ferguson）上校率領(lǐng)，去綁架格蘭特，以便霸占全球媒體收視率。接下來(lái)就是電影史上最暴力和奇怪的對(duì)戰(zhàn)之一。除了多個(gè)足以開罪所有人的極端暴力畫面，還有曾被稱為“電影中有史以來(lái)出現(xiàn)的最怪異和滑稽的性場(chǎng)面”。

簡(jiǎn)介：伊尼奧和羅莎是一對(duì)新婚夫婦，沒想到他們結(jié)婚才幾個(gè)月，西班牙內(nèi)戰(zhàn)爆發(fā)。伊尼奧作為親共分子被弗朗哥獨(dú)裁政府抓捕，在被押解的路上，伊尼奧想辦法逃回了家中。為躲避再一次被捕，伊尼奧在羅莎的幫助下，藏身于自家的地洞里長(zhǎng)達(dá)30年。

簡(jiǎn)介：本片講述了約翰·列儂的少年故事。列儂（亞倫·泰勒-約翰遜 Aaron Taylor-Johnson 飾）從小被姨媽Mimi（克里斯汀·斯科特·托馬斯 Kristin Scott Thomas 飾）收養(yǎng)，直到15歲才與親生母親Julia相認(rèn)，他的姨媽更和他的母親展開了對(duì)他的爭(zhēng)奪。列儂的母親帶著列儂走上了音樂之路，給他買了一把吉他。后來(lái)列儂認(rèn)識(shí)了和他差不多年紀(jì)的保羅·麥卡特尼（托馬斯·桑斯特 Thomas Sangster 飾），保羅矯正了列儂的吉他技法。列儂的生活充滿了掙扎和矛盾。直到有一天，列儂的母親車禍死去，列儂下定決心離開Mimi，離開他從小生長(zhǎng)的利物浦，去探求更廣闊的天地.....

簡(jiǎn)介：　　《越押飛龍》是1990年上映的香港動(dòng)作電影，由李力持執(zhí)導(dǎo)，黃秋生及廖偉雄等主演。 本片講述了戚志明（黃秋生）因冒險(xiǎn)入獄而破奇案，獲提升為高級(jí)督警，明發(fā)現(xiàn)其獄中好友阿細(xì)（廖偉雄）放監(jiān)后，再次為非作歹，遂助他改過(guò)，安排他做警方臥底。

簡(jiǎn)介：

有著特殊工作經(jīng)歷的主婦伊佐山菜美，她的丈夫是現(xiàn)役公安警察，同時(shí)也在每日監(jiān)視著她。二人改了名字搬到了珠海市開始了新生活。就在珠海市發(fā)現(xiàn)了新能源，為了保護(hù)海洋而阻撓開發(fā)的反對(duì)派，和以市長(zhǎng)為首的推進(jìn)派，兩方斗爭(zhēng)日益激化。而在新能源開發(fā)的背后，其實(shí)是俄羅斯和其他勾結(jié)國(guó)家的陰謀，公安潛入其中意圖阻止。其實(shí)就在半年前，菜美因?yàn)槟臣聠适Я擞洃??；謴?fù)菜美記憶就意味著要讓相愛的二人遭遇生離死別。被過(guò)去困擾、被國(guó)家追查，菜美逐漸被卷入了風(fēng)暴之中。

簡(jiǎn)介：1993年，仁川，高利貸追討者頭石（成東日 飾）和宗培（金熙元 飾）想從明子（金允珍 飾）處拿回欠款，卻因?yàn)槊髯拥木狡戎坏脤⑺呐畠撼欣阏砚?飾）帶走作為擔(dān)保。　　因?yàn)楸蝗伺e報(bào)，作為非法滯留者的明子遭到驅(qū)逐，臨行前拜托頭石將承利送至其大伯處。本以為承利會(huì)被有錢人家收養(yǎng)的頭石卻發(fā)現(xiàn)承利被送到了不該她待的地方，他毅然決定把承利奪回…　　此去經(jīng)年，正在中國(guó)作為中韓外交事務(wù)翻譯的承利接到宗培的電話，得知了失蹤已久的頭石的訊息…

簡(jiǎn)介：A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.　　Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.

簡(jiǎn)介：

A shy outsider tries to make friends with the popular high school cheerleader and seeks revenge afte...