爱狗人士

简介：某晚，丁娟赴约去见男友李良，发现他倒死在自己屋内。东海市公安局干警钱凯（徐敏）、陈明辉（仲星火）接到报案后，火速赶到案发现场。法医鉴定李良之死属他杀后，两人注意到一些诸如李良伤口上有根细小的鸟类羽毛、茶杯上有一个明显的指纹之类的蛛丝马迹，其中在李良的笔记本上，有一句“阿三，我决不放过你！”的话。 调查后，小钱老陈两人得知与李良相熟的名叫阿三的共有两人，一为在黄山青溪农场工作的绰号为“橡皮鱼阿三”的人，他和李良曾在钱财上有过纠纷，一为曾与李良共过事的东海电视台摄影师方明山（严翔），他与李良曾有很深的矛盾。一番取证鉴定，方明山成为重大嫌疑人，但案件并非如此简单。

简介：斯蒂尔曼自编自导的风尚喜剧。亦是其“都会三部曲”的完结篇。讲述出浴迪斯科热潮末期的两个女人在俱乐部里寻找爱情的故事。主演是电影圈的时尚达人Chloe Sevigny。

简介：13岁少女的阿尔法从学校回到家后手臂出现纹身，母亲惊恐不已，试图掩盖她的身体变化。随着身体逐渐发生变化，阿尔法的感官变得敏锐，行为愈发难以控制。她在夜晚游荡，仿佛被某种本能驱使，逐渐被周围人视为异类。母女关系也在恐惧与隐瞒中濒临崩溃。一次突发事件迫使阿尔法逃离熟悉生活，踏上一段未知旅程。在逃避与觉醒之间，她必须作出选择。

简介：幌舞作为煤矿产地曾繁华过，无奈现今人口衰减。幌舞支线也决定即将废线，停止使用。佐藤乙松（高仓健饰）是北海道地方支线幌舞车站的站长，乙松每天得独自负责剪票，用小旗指挥列车进站、出站，清扫车站内部以及其他琐碎工作。　　老同事杉浦仙次造访幌舞车站，想游说乙松在退休后，和他一起去渡假村工作，可是遭到乙松的拒绝，他深信不移地用生命陪伴着铁路。由于坚守岗位，17年前夭折的女儿雪子和2年前去世的妻子静枝（大竹忍饰）都只能孤独地走向死亡，乙松强忍着心头疼痛。一天，一个小女孩出现，之后又有个小女生来找丢失的娃娃，在寒夜里，一个少女（广末凉子饰）出现，乙松这才突然记起她是谁……

简介：在地下音乐界有点知名度的女生乐团两人组合“ハルレオ(harureo)”。Haru（門脇麦饰）和Reo（小松菜奈饰）两人为了各自发展，而决定解散。他们找来外援志摩（成田凌饰）一起做全国巡演。但是在路上Reo喜欢上志摩，志摩却喜欢上Haru。而其实Haru对Reo有着友情以上的感觉…。

简介：影片故事根据真实事件改编，詹姆斯·默里博士（梅尔·吉布森饰演）领导下的编委会要进行新版本的《牛津英语字典》的编辑，以当时的人力科技水平，完成字典的编撰要一个世纪才能完成，詹姆斯·默里博士开创性的采用了全民参与的方式，让全英使用英语的人一起为字典收集词条定义，并通过寄信的方式发送给编撰组。　　在收集定义过程中，他们发现了一个叫W.C.迈纳（西恩·潘饰演）的医生独自贡献了一万多条引语，这是一个专业语言学者都很难完成的工作量。当编委会决定向他致敬时，一个惊人的事实曝光了：原来迈纳医生，是美国内战时期部队的一个军医，因为患有精神分裂症而犯杀人罪，被禁闭在精神病院，是一个被认为是疯子的人。　　一位教授、一个疯子，人类历史上最早的英语大词典就这样在两个迥然不同的人手中诞生。

简介：故事发生在北京，叶彤（孔琳 饰）回到了阔别已久的故乡，在这里，有她全部的童年回忆。再度相逢，曾经的玩伴们已经长大，卫东（张嘉译 饰）、卫萍（丁嘉丽 饰）、雷兵（扈强 饰），每个人的身上都留下了时间的痕迹。在学校里，叶彤结识了摇滚乐队主唱彭威（耿乐 饰），彭威的自由不羁吸引了叶彤，两人的关系越走越近。　　彭威和卫东是旧相识，两人之间有过一些过节，其中的龃龉并没能随着时间的流逝而渐渐淡化，如今沦为罪犯的雷兵又和当警察的卫东结下了梁子。卫萍告诉叶彤自己怀孕了，希望叶彤能够帮她做流产手术，雷兵和卫东之间的矛盾升级成为了暴力冲突，卫东受伤住院，雷兵失足身亡。悲伤和痛苦之中，叶彤明白，曾经的单纯时光一去再也不会复返。

简介：一天早晨，两个非洲小孩特内和他妹妹巴菲奥卡迪耶离开了他们的村庄，找寻在他们洗澡时消失了的一只青鸟。在路上他们遇见了死去的祖父母、森林里的鬼魂和快乐首领的指导。这些角色中的每一个都讲述了关于生死的故

简介：三十年前双亲遭人杀害，凶手真实身份和行凶动机均是个谜，私家侦探陈强（郭富城 饰）辗转追踪到马来西亚，只为弄清父母的死因。然而与他父母曾有交往的关系人回忆所述前后矛盾，且劝阻他不要继续追查。在此期间，陈强的家也被人入室翻检。在孤立无援的情况下，他求助于当地的私家侦探郑风喜（张家辉 饰），请他协助查找关系人的背景和某些重要人物的下落。郑此刻正为弟弟的事情焦头烂额，但他耐不住陈的激将法，毅然接受委托。　　但从着手调查的那一天起，各种危险便如影随形。交织着毒品与欲望的罪恶阴影，命悬一线的两位侦探逐渐向当年的真相逼近……

简介：A young woman finds a way to resurrect the lover she lost to suicide, with devastating, unforeseen consequences.

简介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

简介：改编自剧作家Stephen Adly Guirgis 的《THE LAST DAYS OF JUDAS ISCARIOT》中的一节。