浪漫骑士请放手

简介：深圳有为青年高寒在一次交通意外中遇上了漂亮的女高管王惜悦，两人一见钟情并因此相爱。但一夜之后，王惜悦神秘失踪，而高寒却阴差阳错进入一家无人机公司任项目总监。因为前任遗留的烂摊子，高寒与总经理产生了利益上的冲突，就在高寒要被总经理诬陷的会议上，朝思暮想的王惜悦却及时出现，并轻松地给高寒解围。两人旧情复燃，但王惜悦的身份却越来越引起高寒的怀疑，真情的背后是否隐藏着背叛……与此同时，美丽纯洁得如同一张白纸的小花对他依旧一往情深。择一城终老，遇一人白首，在他爱的人与爱他的人之间，他还有勇气去选择吗？

简介：身为大学讲师的柳贞（李英娜 饰）表面虽然风光，可是她一直受小时候被堂兄强奸的惨痛经历困扰，因此她非常不满意母亲息事宁人的做法。她不相信爱情，也不相信命运，她更有过三次自杀未遂的经验。　　她即使极不情愿，而她还是在姑妈的安排下到了劳教所去。在里面她认识了因谋杀而被判死刑的润秀（姜东元 饰）。因为同样有被母亲抛弃的命运，同样感到生命的绝望，两人很快放下了戒心，从相知相识到相恋，彼此温暖着，慰藉着对方的心灵。　　但正当他们爱得激烈，润秀的刑期也即将来临……

简介：电影《芦花寨》是根据《集结号》作者杨金远的又一军事题材小说《带你去一个美丽的地方》改编而成，以闽中革命风云为背景，以纯朴善良的姑娘芦花和红军战士陶龙生及国军班长李玉的两次不同的感情瓜葛为主线，讲述了一段凄美的红色革命爱情故事，赞颂了勤劳勇敢的闽中普通民众。该片时间跨度达60余年，期间穿插了国内革命战争、抗日战争和解放战争，并融入了大量闽地元素，例如悠扬的兴化山歌、精湛的古典家具雕刻工艺等。

简介：本片讲述了三个因误会而分道扬镳的好友，7年后重遇，摒弃前嫌并携手创业的故事。主人公池岳与陆徙曾是the FIT最优的毕业生——一个是备受瞩目的时装设计师，一个是才华横溢的天才画家，彼此是最好的朋友亦是最强劲敌。因毕业前的一场误会分道扬镳，直到七年后，他们共同喜欢过的女孩陈斗带着当初三人一起创业的誓言从国外学成归来。三个年轻人在追逐梦想的过程中被卷入森海CEO Emma的连环阴谋之中。面对重重阻挠、离间与挑唆，他们从沮丧、受挫，到冷静后选择彼此信任、一路越战越勇，为了自己的梦想而努力！

简介：Exuberant CHLOE is a whirlwind of energy who acts purely on impulse and has never quite grown up. Industrious JEFF is a hard-working guy who plans his future, step by step. When the two fall in love, they inevitably quarrel and break up. But when they decide to pretend to still be together so that their holiday season won't turn into a pity party, they soon realize that opposites, after all, do attract -- and that, despite their differences, they are still very much in love...

简介：19岁的米尔塔与情人罗宾因吸毒过量死亡。然后她独自苏醒，发现为了生存，她必须吃活人。

简介：剧情简介暂缺，敬请期待

简介：本片讲述了富二代吴嘉豪为追求大学同学关淑颖，主动去后者新开的健身房当销售。几个年轻人在开健身房创业中，遇到的喜怒哀乐。风哥阿华无奈之下买通黑心房东，用合约漏洞逼走关淑颖和健身房。最后吴嘉豪用智勇双全，挫败了对手。吴嘉豪和关淑颖也收获了真挚的爱情。

简介：古舘佑太郎と石橋静河が共演する映画『いちごの唄』の製作が決定した。本作は、ロックバンド銀杏BOYZ（峯田和伸）の楽曲を、『この世界の片隅に』（TBS系）、映画『8年越しの花嫁 奇跡の実話』の脚本家・岡田惠和が映画化した青春物語。m.ysgou.cc唯一の親友である伸二を亡くした笹沢コウタと、コウタと伸二が大好きだった“女神”あーちゃん（天野千日）の関係姓を描く。

简介：故事讲述露西天生就是一名收藏家，她与男友分手，而男友是惠特尼博物馆的老板。露西不知道该把恋爱时的物品放在哪里，于是她在一家陌生酒店的大厅中策划了心碎画廊，在那里她找到了自己的声音，并学会了放手去爱。

简介：《美梦贩售栈》以男主人公墨非烟为专食人类梦境的梦貘身份展开，讲述了墨非烟与女主角白玫因梦结缘，因梦相爱，上演了一场甜虐的寻爱之旅。

简介：Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play La Morte in Vacanza by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.　　To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.　　(Howard Schumann, talkingpix.co.uk)　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.　　(Dennis Schwartz, homepages.sover.net)　　I've heard DRACULA was advertised with the tag line The Weirdest Love Story ever told! (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.　　(Dave Sindelar, scifilm.org)　　See also the remake Death Takes A Holiday (1971)