亲密风暴

简介：在石路（尚语贤 饰）留美念书期间，她离异的父亲（王砚辉 饰）在国内悄悄再婚，并将生活重心转移到了新婚妻子和初生儿子科迪（林靖喆 饰）身上。父女因此产生了隔阂。求而不得的亲情在石路心中留下了伤疤。她试图在工作中寻找存在感、归属感，不料却遭遇签证危机。走投无路之际，疏远的父亲突然来电，要求她安排异母弟弟科迪赴美治疗丙肝。为了利用美籍弟弟取得短期工作签证，石路违心地答应了。科迪对她的需要及依赖让石路体会到了久违的亲情。石路必须在家庭和个人梦想中做出抉择。

简介：影片通过女性视角，讲述了普通人在困境中找寻爱与希望的治愈故事，体现了寻常百姓对生命不寻常的坚守和执着。当突如其来的变故横亘面前，当情侣、夫妻、婆媳等关系开始出现裂纹，每一个选择和行动都折射着人性和人心的力量与温度…….

简介：拥有音乐才华、天赋异禀的吴沛珊（吴莫愁 饰）在哥哥（华少 饰）的极力反对下不得不怀着遗憾报考了工商管理。即将开始的音乐节，是吴沛珊实现音乐梦想、让哥哥重新认识自己的最好舞台……　　同为热爱音乐的李子扬（李代沫 饰）是一位在酒吧工作的“草根”乐者。吴沛珊阴差阳错地与李子扬结识，并无意中发现了隐藏在李子扬心中不为人知的声乐才华。吴沛珊希望能帮助李子扬展现自己的才华，但李子扬非但不接受吴沛珊的帮助，反而与之渐行渐远，扑朔迷离的缘由让生性开朗的吴沛珊更为好奇，欲一探究竟……　　音乐节开赛在即，李子扬的心结在吴沛珊，丁飘飘（丁丁 饰），张乐（张玮 饰）、刘一宸（大山 饰）、王葳（王克 饰）、赵安娜（赵露 饰）等人的帮助下慢慢地云开雾散。正当吴沛珊，李子扬等人秣马厉兵、准备在音乐节一展身手时，哥哥的出现让吴沛珊的努力瞬间回到了冰点……　　音乐学院院长（汪峰 饰）对吴沛珊，这位来自工商管理专业的女孩关注有加，看着吴沛珊让他想到自己曾经热爱音乐的青春往事……

简介：一部由两个故事架构而成的电影，两个故事分别发生在大城市和小城镇，两群正值青春期的孩子在各自的生活环境中寻找着自己青春的出口，他们的故事看上去并没有直接的逻辑关系，但是他们的命运却在隐隐中相互牵连影响着。青春就像一次旅行，两个城市的孩子都在自己的轨迹去进行着自己的旅程，他们迷惑、压抑、找不到方向，但是他们却一直紧携着手里的地图，期待着有一天可以把它在生命中摊开……

简介：艾丽西亚·维坎德宣布成立自己的制片公司Vikarious Productions，公司出品的首部作品名为《欣快》，找来伊娃·格林与夏洛特·兰普林合作，讲述一对关系疏远的姐妹一同踏上前途未知旅程的故事。本片是瑞典导演丽莎·朗塞斯的英文处女作，是她与艾丽西亚·维坎德的第三次合作。

简介：故事发生在非典爆发时期，林韦皓（杨恭如 饰）身为一名护士，抵挡着巨大的压力坚持奋战在第一线，其强大的勇气的毅力令人折服。和林韦皓恰恰相反的是身为医生的陈俊豪（谭耀文 饰），虽然身披白大褂，但疫情爆发的第一时间，他想到的竟然是逃跑，可渐渐的，陈俊豪被林韦皓的所作所为给打动了，惭愧的他决定肩负起自己的责任。　　蓝雄（曾志伟 饰）是腰缠万贯的暴发户，可他的妹妹却偏偏爱上了默默无闻的药店老板（钱嘉乐 饰），蓝雄尽其所能的想要拆散两人，可是非典当前，当蓝雄生意破产失去一切时，是药店老板不计前嫌伸出了援手。

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：上海解放后，解放军某部八连接受了在南京路执勤的任务。三排长陈喜（马学士 饰）经不起资产阶级“香风”熏染，瞧不起乡下来看他的妻子春妮（陶玉玲 饰），看不惯脸长得黑的八班长赵大大（袁岳 饰），逐渐丢掉了我军艰苦朴素的优良品质。上海籍新战士童阿男（廖有梁 饰）自由主义思想严重，不请假私自外出，受到连长鲁大成（宫子丕 饰）批评后，竟扬长而去。八班长赵大大则看不惯上海滩的乌烟瘴气，坚决要求上前线去。指导员（徐林格 饰）针对连队出现的种种问题，感觉到问题严重，决定遵照毛主席教导，开展阶级教育，请来老工人讲述在旧上海所遭遇的种种苦难，并使战士们认清在和平时期中也存在着你死我活的斗争......

简介：暴风雪夜，护林员桑杰（金巴饰）的小屋突然闯进了一位自称是森林公安的持枪男子（王铮饰），埋伏并抓捕了疑似盗猎接头人的村民根宝（更旦饰），惊魂未定间，又一位男子（达杰丁增饰）持枪闯入，声称他才是真的森林公安……                                                                    是谁开了枪？谁又在说谎？这场荒野逃杀还暗藏哪些秘密？真相扑朔迷离，一时杀机四起，而屋外始终有一双眼睛在冰冷地注视着这一切……                                                                    影片改编自藏族作家江洋才让的同名短篇小说。

简介：卡尔是一名建筑商人，某天送儿女上学时突然接到一通陌生电话，说车上安放了炸弹，一离开座椅炸弹就会爆炸，如果报警就摇控炸车。狭小的车内空间顿时将三人的不安和紧张感无限放大…中途剧情紧凑反转不断，而警察调查结果竟将犯罪嫌疑人锁定为卡尔自己，随着时间流逝，卡尔面临即将失去所有财富、性命甚至家庭的多重危机将如何解决？最终结局又会出现怎样的反转？

简介：笨鳥滿天飛 (1982)　　The Stupid Birds the Sky　　地區 台灣　　語言 國語　　片種 喜劇　　　　導演　　方豪　　　　編劇　　玄小佛　　　　　　剧情介绍：某一成衣工廠服裝設計科在徵人，長得甜美的金靈兒前去應徵，好色廠長見金靈兒外貌出眾便吩咐小皮膚錄用。小皮膚為一長得俊俏的男性，深受廠裡女性愛慕，為人正直並和金靈兒結為好友，後縫製科陳莉莉及廠長祕書等人更結交成好友，周安妮為廠長密探，經常向廠長張大為告密，後張大為用計謀將四人解職。金靈兒決定向從不露面的董事長報告張大為的貪污舞弊……　　　　　　演員　　應采靈　　周紹棟　　李國修　　徐俊俊　　石英　　華方　　胖三　　陳瑋齡　　凌峰　　　　　　製片　　吳武夫

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.