越南：快速前进

简介：

《考夫曼的游戏》讲述了斯坦利的故事，他是一位充满激情、充满动力的年轻人，热爱拳击，渴望提升自己的力量和耐力。当一个神秘的陌生人在拳击馆外接近他，并向他提供一种特制的类固醇时，斯坦利被卷入了一个强大组织日益暴力的行动，并在不知不觉中接受了一系列旨在证明他勇气的测试。这是一部关于力量、决心以及成为自己最大敌人的电影。它致敬了经典黑色电影的原型，以及弗朗茨·卡夫卡黑暗、阴谋的叙事技巧，但又融入了当代极简主义美学。

简介：

故事围绕着年轻的公主白雪公主展开，她被邪恶的继母追杀，想要夺取她的心脏，获得永恒的美丽。为了逃离继母的追捕，白雪公主必须克服黑暗森林的挑战，并与七个嗜血成性、拥有残忍杀戮天赋的小矮人结为朋友。

简介：导      演张跃斌　　编      剧尚永峰、杨鑫　　主      演赵婧佚、谢孟伟、何鹏达　　片      种故事片　　类      型剧情　　出品单位北京天舒容达文化传媒有限公司　　长      度90分钟　　出品年代2011　　剧情简介　　一天，乐乐从猫眼里看到快递员换了人，她非常生气，就没有开门接受自己的午餐；她在网上质问老板，并表示自己的强烈不满。原来是快递员突然病了，他害怕丢掉这份得之不易的工作，就请表哥小亮临时代替他。晚餐时间，乐乐看到的仍旧是那个貌似沉默寡言的小亮，迫于饥饿的催促，她只好开门接受。上午吃了闭门羹的小亮百思不得其解，送快递还要专人？为了这个居然连饭都不吃？心中顿时对这个人产生了兴趣，小亮再次义无反顾的前来一探究竟，出乎意料的是他依然没有见到这个“怪脾气”的人，竟然连对方拍下自己的照片都丝毫没有察觉……

简介：

苏联版的“侠盗罗宾汉”的故事。因为可以接触到客户的财务数据，在保险公司供职的主人公可以推断出哪些客户是诈骗犯或腐败分子。他白天是朝九晚五的公司职员，晚上是“偷车大盗”。 他“抢劫和敲诈”那些坏人的汽车，并把获得的钱都匿名捐给慈善机构。他很快遇到了一个麻烦，他最好的朋友是个警察，正在竭力抓捕那个窃车贼...
目前看过梁赞诺夫最好的作品，一个俄版都市侠盗的故事，简单而精巧，情节紧凑人物丰富，喜剧桥段大都能够跨越语言的界限，之后几部著名作品中使用的的手法也基本成熟，尤其是其中追逐的桥段对空间的立体运用十分独特，效果超越同时期好莱坞公路电影

简介：

泰勒（查理•辛 Charlie Sheen 饰）是越战期间的一名美国大学生，他前往越南前线去服兵役，被分到了一个步兵部队。部队里有两个人一直对他影响颇大——伊莱亚斯（威廉•达福 Willem Dafoe 饰）和巴恩斯（汤姆•贝伦杰 Tom Berenger 饰）。他们两人对战争的看法截然不同，前者不忍残杀无辜，而后者却杀人如麻，泰勒心里非常迷惑，到底谁对战争的看法才是正确。巴恩斯展开了一场残忍的屠杀，越南整条村落都流血成河。伊莱亚斯力劝好友不要如此残暴，却遭致二人关系的裂缝。巴恩斯更怀疑伊莱亚斯向上司打小报告，友谊变为妒恨。于是，在一次丛林战争中，他背着所有人，向伊莱亚斯扣下了扳机。泰勒却洞察了这一切，他心里终于有了答案

简介：受夠父母的16歲少女（程希緹 飾），闖入一座詭譎的奇幻遊樂園，她表裡不一的爸爸（温昇豪 飾）與別有居心的媽媽（曾珮瑜 飾），這對有名無實的夫妻，竟然被一群詭異少年綁架到樂園裡關起來 ...

简介：

爱丽丝与瑟琳住在紧密相连的房子里。她们是好朋友，而同为八岁的儿子戴欧和玛星，也常常玩在一起。瑟琳的儿子玛星不幸从卧室的窗户坠落身亡，爱丽丝虽在现场却无法救他。悲伤的瑟琳责怪爱丽丝没有救她的儿子，她们的友情也逐渐决裂。瑟琳变得越来越鬼祟，爱丽丝担心她有可能会对自己的儿子戴欧进行报复……

简介：

据民政部估计，全国流浪乞讨儿童数量在100万-150万左右。在一些地乡村地区，买卖儿童几近市场化，形成了一个完整的地下黑色利益链。盲人小女孩晶晶（杜函梦 饰）一直被以郭伟（胡明 饰）为头目的犯罪团伙控制下在街头乞讨赚钱。一天，她在地铁通道里遇到了赵亮（李杨 饰）。赵亮是一名落魄摇滚大叔，整天装扮成盲人进行坑蒙拐骗。为了逃脱郭伟残暴的毒打，她在赵亮的带领下到了派出所，但民警王莉莉（于越 饰）根本找不到晶晶的家，晶晶却说赵亮是她的爸爸，万般无奈之下，赵亮只好暂时收留她。最终犯罪团伙还是找到了他们，并以晶晶“监护人”的身份把她带走，晶晶和犯罪团伙之间到底是什么关系？赵亮为了弄清楚这一切，踏上了一场未知的行程。而他和晶晶的故事才刚刚开始……

简介：

经过一夜的大胆（不幸）冒险后，夜班出诊医生皮尔弗朗西斯科和披萨外卖骑手马里奥学会了互相支持，改善各自的生活。

简介：

一位年轻的女医师苏珊菲勒，其好朋友因简单的手术而陷入昏迷状态；然而在她服务的医院中，也有许多类似的病人，在经过简单的手术后呈现昏迷， 这些病患被送至另一机构集中照顾，但是苏珊菲勒发现事情并不如她所想......

简介：

简介：The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.　　On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.