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：Erika意外懷孕，此時(shí)的她完全沒(méi)有做好迎接第一個(gè)孩子的準(zhǔn)備。Erika是個(gè)出了名的控制狂，對(duì)臨產(chǎn)各方面都考慮周全，甚至給自己預(yù)約了一臺(tái)剖腹產(chǎn)手術(shù)。一天晚上，她被宮縮陣痛疼醒，胎兒意外地提前出生。過(guò)于追求完美主義的Erika精神崩潰。　　她無(wú)法照顧剛出生的兒子，開(kāi)始出現(xiàn)緊張性精神癥的癥狀。醫(yī)生建議她接受小組治療。Erika只好無(wú)奈地聽(tīng)從醫(yī)生囑咐，在一間不知名的酒店做工，和一群患有同樣病癥的人生活在一起。在與病友相處的過(guò)程中，她重新認(rèn)識(shí)、改造自己，每天醒來(lái)都是全新的Erika。　　《Hotell》是瑞典戲劇、電影導(dǎo)演Lisa Langseth的第二部故事片。Alicia Vikander擔(dān)綱片中女主角，她曾出演過(guò)影片《皇室風(fēng)流史》《安娜卡列尼娜》。

簡(jiǎn)介：位于北冰洋沿岸的哈默菲斯特是挪威最北的城市，這座小城每年都會(huì)經(jīng)歷極夜，太陽(yáng)永遠(yuǎn)地藏在地平線以下不會(huì)升起，城市在漫長(zhǎng)的黑夜與永恒的黎明之間徘徊。來(lái)自德國(guó)的天然氣工程師尼爾斯把自己的妻子瑪利亞和兒子接來(lái)此地，希望挽救即將破碎的家庭。但新的環(huán)境貌似對(duì)他們的關(guān)系于事無(wú)補(bǔ)。尼爾斯沒(méi)日沒(méi)夜的工作，還在外有個(gè)情人。瑪利亞在臨終醫(yī)院做夜間看護(hù)，處在青春躁動(dòng)期的兒子馬庫(kù)斯與新同學(xué)的關(guān)系也日拔弩張。但一晚一場(chǎng)突然起來(lái)的車禍將三顆冰冷的心漸漸融化，原本岌岌可危的夫妻關(guān)系在共同承擔(dān)對(duì)這一事件的過(guò)程中開(kāi)始發(fā)生變化，并在彼此的陪伴中完成了由恐慌-逃避-愧疚-躊躇-懺悔的整個(gè)心理歷程，并最終在對(duì)向受害者父母說(shuō)出真相完成了對(duì)自我心靈的救贖。

簡(jiǎn)介：Eager to land a journalistic position, Adam White goes to work as an advice-giving newspaper columnist. His editor, Shrike, takes pleasure in browbeating his alcoholic wife Florence for her past adultery, and assigning his employees journalistic jobs for which they have little aptitude or interest. Shrike goads Adam into meeting one of his correspondents, Fay Doyle, a teary, self-pitying woman who makes a play for him. Adam is torn between his loyalty to the newspaper and his girl Justy.

簡(jiǎn)介：Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. ?Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. ?Magdalena lives with her adopted parents and works in an art gallery. ?The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. ?Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. ?The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. ?The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. ?Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. ?The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

簡(jiǎn)介：一名大學(xué)教授的殘忍謀殺案引發(fā)了學(xué)生騷亂，一位警察展開(kāi)調(diào)查的同時(shí)一名律師在法庭上尋求正義。