14之夜

简介：民国期间，周团长攀附权贵，与即将成婚的评弹名伶程小蝶（秦雪 饰）不辞而别，此时程小蝶已有身孕，当她生下孩子后才知道，周团长早已娶了司令家的千金，悲痛欲绝的程小蝶穿着周团长送给她的红旗袍，三尺白绫上吊自尽。　　这件红旗袍流传下来，在当代人王泽亚（王良 饰）和夏雪（洪辰 饰）以及雅茹（秦雪 饰 ）之间发生了一系列不可思议的恐怖悬疑事件，应验了红旗袍的诅咒。

简介：大胆去闯，就是福尔摩斯精神。　　初尝破案滋味的艾诺拉·福尔摩斯（米莉·波比·布朗 Millie Bobby Brown 饰）意犹未尽，决定追随哥哥、名侦探夏洛克·福尔摩斯（亨利·卡维尔 Henry Cavill 饰）的步伐，设立自己的侦探社。她万万想不到，原来女侦探生意这么难做。她无可奈何地接受成人世 界的冷酷现实，打算关门大吉之际，身无分文的卖火柴女孩却找上门来。艾诺拉终于接到第一宗生意，受托为女孩寻回失散的姊妹。然而，这案件比她想像中复杂得多，艾诺拉更因此走进陌生之地，陷入险境。她去过伦敦阴森诡秘的工厂和绚丽堂皇的音乐厅，混入顶尖上流社会，甚至回到贝克街221B。艾诺拉意识到一场流血阴谋将要爆发，不得不急召朋友和哥哥夏洛克帮忙，助她脱离困局。这场侦探游戏又再刺激起来！

简介：故事开始于十五年前。稻村小春（田中裕子 饰）有一段非常不幸的婚姻，她的丈夫是一个不折不扣的酒鬼加暴力狂，当这个男人试图将暴力发泄在他们的三个孩子身上时，身为母亲的小春再也无法忍耐和坐视不管了，为了保护孩子们，她亲手杀死了丈夫，锒铛入狱，也就此改变了稻村一家人的命运。　　一晃眼十五年过去，稻村家的孩子们早已经长大成人。长子大树（铃木亮平 饰）重蹈了母亲失败婚姻覆辙，正在同前妻争夺女儿的监护权。次子雄二（佐藤健 饰）一心想要成为记者，但如今只能够在杂志社打零工过活。最小的女儿园子（松冈茉优 饰）因为母亲的入狱而不得不放弃自己梦想中的人生，成为了酒吧女招待。当小春刑满释放回到子女们身边时，他们分崩离析的关系能够得到修复的机会呢？

简介：美丽女孩瑞茜·霍尔登（佐伊·丹斯切尔 Zooey Deschanel 饰）心中怀有表演的梦想，为此她从密歇根州的老家来到大都会纽约，靠着自己的勤奋取得了些许成就。她的父亲丹（埃德·哈里斯 Ed Harries 饰）曾是一名知名作家，却因爱妻之死而将近二十年再未执笔。瑞茜 和父亲的关系颇为冷淡，父女二人分别多年几无联系。某晚，演出完毕的瑞茜迎来一位不速之客，她叫劳瑞·兰斯基（艾米·麦迪甘 Amy Madigen 饰），是一个以编书为生的女人。劳瑞对丹当年写给爱妻的情书极为感兴趣，她希望瑞茜能够提供这些情书。　　虽然实现了演员的梦想，但是瑞茜仍为生计所迫。在丰厚报酬的诱惑下，她决定返回阔别七年之久的老家，却未曾想到这是一次改变人生的旅程……

简介：土城一战，宋辽阵势易改，两军势均力敌，萧太后为振军心，要到阵上犒军，二驸马木易与银镜公主随萧太后前往边关。得悉杨门女将出征，二驸马木易思绪万千……罗氏女领命前往辽营下休战书，与木易偶然相遇，大惊失

简介：事出民国，吊儿郎当的相声学徒佟小六，决心营救被逼婚的大莲。营救之旅险象环生，小六智斗权势，眼瞅就要巧过关，却不慎堕入时空迷墙，苦寻穿越法门。另一边，一桩密谋已久的凶案即将上演，大莲潜藏的秘密终将浮出水面。

简介：The evening before Christmas eve. Vilde is hanging out with her gang at the central station, when

简介：恰鲁拉达（Madhabi Mukherjee 饰）和丈夫结婚了，然而，令她没有想到的是，等待着自己的并非充满了幸福和快乐的婚姻生活。恰鲁拉达的丈夫是一名知识分子，虽然饱读诗书，但他选择将全部的精力投入到研究政治刊物之中，在他的思维里，妻子只需要料理好家事即可，并不需要自己的陪伴和理解。　　随着时间的推移，恰鲁拉达和丈夫之间的关系越来越冷淡，她终日生活在孤独之中，内心里非常的苦闷。就在这个节骨眼上，丈夫的堂兄走近了恰鲁拉达的生活，他是一位热情洋溢的诗人，对生活充满了憧憬，在他的影响下，恰鲁拉达渐渐走出了忧郁，并且明白了如何追求心中的梦想。

简介：电影讲述了新晋赌霸叶天玄，在一次大型赌局后离奇失踪。秘赌阁阁主青魇命手下黑宗寻找叶天玄，结果黑宗误打误撞将身怀特异功能的梦梦带了回来。梦梦怀揣着心中的秘密，最终凭借超凡的毅力喝智慧,成为了超能赌霸。

简介：剧情简介暂缺，敬请期待

简介：伊莎贝尔·于佩尔饰演了三个完全不同的女人：法国女导演、婚外恋中的阔太太、被韩国女人抢走丈夫的弃妇。她们性格迥异，在故事里却一样来到异乡，来到一个叫茅项的偏僻海滩，住在清新的海边民宿的同一间“天号房”里，被同一个女孩带路，遇到同一个有好看帐篷的愣愣救生员，甚至借来的那把浅蓝色雨伞都是同样的。而故事通过细节的迥异也有了不一样的发展，她们想寻找却一直没有出现的灯塔也不知是否是同一座。　　电影入围第65届戛纳电影节竞逐金棕榈奖。法国演员兼歌手简·伯金（Jane Birkin）在韩国公演期间受邀客串出演了本片。

简介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.