海滩

简介：一名雇佣军受雇夺取一把能将人变成凶残杀手的武器，而在兄弟成为这一装置的受害者后，他决定展开复仇。

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：围绕震惊喀拉拉邦的两起重大犯罪以及随后 SOP 对案件的调查展开。

简介：黄小龙、李虎是两个被判重刑的在押犯，他们越狱后潜回北京，想找当年把他们送进监狱的刑警傅冬（张丰毅 饰）复仇。傅冬的妻子孙岩（吕丽萍 饰）无法忍受丈夫这种早出晚归、让人整天提心吊胆的工作，向他提出离婚。傅冬非常苦恼，可他偏偏又喜爱这份工作。单位同事钟小妹（伍宇娟 饰）平日里爱慕着傅冬，闻讯傅妻要与他离婚，大胆表明了自己的爱意，却不料遭委婉拒绝，让小妹非常伤心。得知黄、李二犯潜回北京，局领导进行了周密的抓捕布署，钟小妹化装成小保姆来到同案犯张大为（赵强 饰）家做内应，经过一番交量，终将二犯缉拿。模特阿玲（张艳丽 饰）曾得到过傅冬的帮助，对傅颇有好感，出国定居前也向傅表达了爱慕之情......

简介：Abla, a widow and mother to a 10-year-old girl, struggles to survive and give her child the best possible future. After the death of her husband, she starts a home-based business from her kitchen.

简介：在华盛顿呼风唤雨的政治说客斯隆女士，在美国枪击事件接连发生的情况下，不惜牺牲自己的职业生涯，以督促政府实施更严格的联邦法律规范枪支。

简介：1938年初，国际主义战士诺尔曼•白求恩（谭宁邦 饰）远渡重洋来到中国，支援中国人民的抗日战争。毛主席在延安接见了他，军区卫生部安排他做医疗顾问，白求恩发现边区的医疗条件比他想象的还要差很多。他向司令员（吴雪 饰）请示办一个后方示范医院，调各分区医生来参加培训，他还不顾个人安危，亲自到前线为重伤员做手术。由于缺少必要的医疗器械，好多重伤员得不到及时救治，白求恩心急如焚，他决定回加拿大一次。但突发而至的战斗阻挡了他回国的步伐，他对送他的方大夫（村里 饰）和童秘书（英若诚 饰）说：我不走了，这里更需要我。黄土岭战役后，在一次给战士做手术中，他不小心划破了手指，悲剧不可避免地发生了......　　本片根据周而复同名小说改编。

简介：人公童炎在救小女孩的时候被疾驰的车撞了，等他醒过来之后发现自己有了超能力，同时也加入了超能秘密组织。报到的时候童炎被分配给组织头号人物菲儿，此时菲儿发现了另一位头号人物拉格斯的阴谋，但是菲儿被暗器限制了能力，在观察童炎是否勇敢、善良、正义之后决定训练童炎，童炎的努力和改变让菲儿爱上了他，两人准备揭露拉格斯阴谋的晚上，菲儿用自己的超能力删除了童炎的记忆，等童炎醒过来之后碎片般的记忆让他感觉到好奇，童炎追寻着记忆的碎片终于找到了答案，童炎找到了拉格斯打碎了超能时钟，超能时钟钟声响彻天际，童炎醒过来发现是自己的一个梦，但是这个梦却如此真实，从此童炎改变了自己找回了自信。

简介：“沉水入火，九霄琴出；当今之世，谁敢争锋。”是江湖中流传了百年的名言。传闻得九霄琴者可一统江湖，号令天下。可是却鲜有人知，这背后其实还有一句预言，那就是——“逆天犯顺，浩劫难当；欲要平治，祭琴舍身。”

简介：元禄忠臣藏的事迹流芳百世，在47名义士之中，寺坂吉右卫门（佐藤浩市 饰）是仅存世间的一人，他受大石内藏助（片岡仁左衛門 饰）的嘱托负责将47义士的事迹流传世间，同时肩负起照顾遗族的重任。时间飞逝，一晃16年的时光过去。在准备忠臣藏第十七回法事的途中，寺坂偶然遇见当年的盟友——讨伐吉良上野介（福本清三 饰）前夜逃亡的濑尾孙左卫门（役所広司 饰）。如今的孙左摇身变成一名古董商人，与美丽温柔的女孩可音（桜庭ななみ 饰）生活在一起。他与可音既像父女，又如恋人，而她正是孙左不惜背负骂名苟活人间的唯一理由……　　本片根据池宮彰一郎的同名原著小说改编。

简介：故事围绕西蒙斯饰演的工作狂老爸，出差期间看望女儿，却发现女儿离奇失踪。无奈之下，只得与女儿的前男友(赫斯基饰)组队，一同寻访女儿的踪影。

简介：茱莉亚·路易斯-德瑞弗斯、洛拉·佩蒂克鲁([拍拖故事])、阿琳泽·科纳(《公关》)将主演A24新片[星期二](Tuesday，暂译)。戴娜·O·普西奇执导，这也是普西奇的长片处女作。路易斯-德瑞弗斯与佩蒂克鲁将饰演一对母女，而女儿的名字便是“星期二”。