寒假

简介：

在世界首部动作音乐剧中，杰克和他的特警队突袭了一家废弃工厂，以击毙该国最危险的恐怖分子。当然，还有歌舞表演。

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艾娃接受了在皇家冰酒店工作的千载难逢的机会，这使她与最重要的客人皇家王子本人展开了令人惊讶的旋风式浪漫。

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暂无简介

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由五个单元故事组成的GOOD TAKE，是香港电影新一代导演的创新作品，包括导演曾国祥《水泥》，讲述警员9413（周柏豪）前往报案地点查案，最后只留下电话铃声却不见其人，令人毛骨悚然；导演黄智亨的《囍宴》，一个小孩跟着跟爸爸（张兆辉饰）一起前赴妈妈新婚囍宴的故事，童真与成年人的无奈都尽在心头；导演黄进的《Good Take 》，透过甘草演员泰勒(卢海鹏饰)的生活是向资深电影从业员致敬的故事；导演杨龙澄的《不一定》，以型格对比色彩重构暴力血腥镜头；导演黄精甫的《吓鬼》，Charlene（蔡卓妍饰）挑战鬼屋一夜游，遇上中国僵尸、长发贞子和辫子姑娘，过程又惊又笑！五个故事各自有着不同风格及不同戏味！

简介：高利贷商人巴特（Bob Hoskins 饰）在丹尼（李连杰 饰）四岁时将他收留，从此用训练猛兽的方式让丹尼成为自己忠实的“狼犬”。巴特日常的工作是带领自己的手下与丹尼四处收账，如有任何人胆敢暴力反抗，巴特就放开丹尼颈上的项圈——那是进攻的信号，让后者用蛮横凶残的招式击溃对方。每次任务结束，丹尼都被送回阴暗的地下铁笼。　　某次打斗中，丹尼偶遇盲调音师山姆（Morgan Freeman 饰），并为钢琴所深深吸引以致忘记了巴特的任务。盛怒的巴特将丹尼送上以死亡为终结的地下拳场，赚取了更多的利润，在离开拳场的路上巴特一伙遭仇家埋伏，丹尼幸免于难，被山姆一家收留。在山姆家里丹尼体味到缺失的亲情，逐渐找回了自身的人性一面，并开始学习弹奏钢琴。巴特等人经过治疗后痊愈，再次将丹尼拉回到拳场，然而丹尼已不再愿意杀人，无意中又发现了当年自己母亲遇害的真相，丹尼与巴特一伙的决战在所难免……

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一个雨天晚上，一家小餐馆的老板们大吃一惊，刚打烊不久，一位身穿婚纱的年轻女子——带着三只狗——恳求进店。接下来，这位年轻女子讲述了她如何走到人生这个奇怪的路口，以及如何在寻找合适的男人的过程中，最终成为了一名带着三只新狗的逃婚新娘。

简介：巴西惊悚片，巴西导演马可·杜特拉作品，影片提名第29届东京国际电影节(2016)最佳影片。一名已婚女子在家中遭到强暴后，选择向丈夫隐瞒，却浑然不觉他被他自己深藏的秘密所苦，也不知他心中的复仇计划书...

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见证Slash，Alice Cooper等摇滚明星担任导师，教导启发学员并传承音乐的炙热感动

简介：《成为：米歇尔·奥巴马自传》带领观众近距离观察前第一夫人米歇尔·奥巴马在巨大变动期间的生活。该纪录片不仅记录了米歇尔的个人生活，也记录了这个她与丈夫在白宫期间为其付出了八年多心血的国家。这部电影带领观众走进幕后，对她的生活进行了罕见而近距离的观察：米歇尔开始了一场途经 34 个城市的旅程，这场旅行凸显了社区在弥合分歧方面的力量，以及在我们开诚布公地分享自己的故事时人与人心相连的精神。

简介：

影片根据二战真实故事改编。英国正遭受德国的强劲攻击，丘吉尔组建了一支秘密特工部队，由古斯·马奇-菲利普斯上尉（亨利·卡维尔 饰）率领由玛琼莉·斯图尔特（艾莎·冈萨雷斯 饰）、安德斯·拉森（阿兰·里奇森 饰）等6位特工组成的极具“疯”格的精锐小队，通过一系列“非常规”、“无下限”的手段硬刚德军部队，最终逆天颠覆战局，在对抗纳粹的战争中取胜功不可没。

简介：《红色警戒》是一部有关缉毒题材的悬念动作影片，故事取材于永泰一个农村家庭发生的真实故事，并在福州大量取景。主角王力因童年阴影，从警校退学后当外卖员，因兄弟孙昭和女友白美丽而卷入毒奶茶事件，发现竟与19年前父母的死有关，最终他战胜自己的恐惧心理，成为继承父亲遗志的一名缉毒警察。

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.