穿越时空的古宅

简介：

《Ravanasura》是一部即将上映的印度泰卢固语心理动作惊悚片，由 Sudheer Varma 执导，故事改编自 Srikanth Vissa 创作。

简介：

安德罗维亚的王子德斯蒙德和沃斯蒂亚的公主科拉莉娜只见过两次面，他们即将结婚。这场联姻是由他们的祖父，也就是前国王安排的，甚至在德斯蒙德和科拉莉娜出生之前就已安排好。由于安德罗维亚和沃斯蒂亚曾属于同一个国家，三百年前两国因土地纠纷而分裂，双方互不信任，因此这桩包办婚姻仅仅是一种手段，将争端推迟到未来几代国王手中，因为在过去三个世纪里，每代国王都无法直接达成任何协议。这种不信任也适用于现任国王，也就是德斯蒙德和科拉莉娜的父亲里士满和温斯顿。虽然德斯蒙德和科拉莉娜都将婚姻视为他们的王室职责，但当科拉莉娜放弃公主身份，与一名平民水管工私奔时，情况发生了变化。土地纠纷关系到安德罗维亚和沃斯蒂里的未来，德斯蒙德决定最好的办法是娶科拉莉娜的妹妹贝娅特丽克斯公主。问题是，二十年前，在家人的祝福下，贝娅特丽克斯放弃了王室职责，但没有放弃头衔，在世界“某处”过着平民生活。贝娅特丽克斯没有告诉她现在在波士顿的任何人她是一位公主，她只被称为贝娅，和她大学最好的朋友克洛伊一起经营着一家致力于女孩赋权的基金会。德斯蒙德的工作人员在他的男仆埃德温的带领下，在波士顿找到了贝娅特丽克斯，而她对这种打扰她平静生活的行为以及与一个她从未见过的男人包办婚姻的繁文缛节感到不满，从她在媒体上看到的情况来看，她认为这个男人是一个自命不凡的皇室成员，根本不了解他的臣民，也就是普通民众的需求和愿望。然而，Bea 最终同意了这桩婚事，因为现任国王仍在继续谈判，如果他们达成某种协议，这桩婚事可能就没有必要了。Androvia/Vostiary 联姻之路并不像 Desmond 和 Bea 所期望的那样顺利，因为包括爱情在内的其他因素也发挥了作用。

简介：

一位失业的医生转型为出租车司机，将自己的出租车改装成流动诊所，成为当地英雄。《出租车医生》讲述了一位年轻的印度医生移民加拿大，怀揣着治愈他人的无私梦想，在这片充满机遇的土地上开启新生活的暖心历程。在踏上这段从医生转型为出租车司机的旅程时，出租车医生发现了自己真正的人生目标和真爱。

简介：

晓恩（张曼玉 饰）留学归来参加妹妹的婚礼，期间发觉与母亲葵子（陆小芬 饰）的隔阂与矛盾只增不减。直到陪母亲回日本探亲时，她才真正开始了解自己的母亲。原来在抗日期间到满洲投靠哥哥的母亲，结识了当时身为军官的父亲（李子雄 饰），并与其结婚，战后决定随丈夫一起搬到澳门生活。因 生活习惯和文化等各方面的差异，令母亲与公婆同女儿之间的隔阂与误解不断。然而在母女俩终于取得了沟通与谅解之时，却从大陆传来了从小带大晓恩的祖父中风不良于行的消息, 向来和他们不和的母亲却要求忙拍戏的女儿一定要去......

简介：一位在欧洲留学的女大生希瑟偶然发现了一个恐怖组织策划的谋杀案，她作为主要证人处于生命危险之中……

简介：

这部恶搞黑帮的电影以 20 世纪 30 年代为背景，讲述了约翰尼·凯利 (迈克尔·基顿饰) 被迫走上犯罪道路以支付母亲生病的医疗费用的滑稽故事。为了将自己的正直生活与犯罪生活区分开来，约翰尼取了“危险”这个名字，并很快成为了一个拥有女人和财富的强大黑帮分子。然而，当约翰尼的兄弟 (格里芬·邓恩饰) 成为地方检察官时，“危险”这个名字即将被凯利家族诽谤。

简介：

19 世纪 90 年代，一名连环杀手在伦敦被判处电椅死刑，但在生命的最后时刻，他对自己所在的监狱以及监狱里的所有人施了诅咒。

简介：

樱花飞舞的都立瑞泽高中，迎来了热爱花牌的女孩绫濑千早（广濑丝丝 饰）。小学时代，千早受转学生绵谷新（真剑佑 饰）的影响接触了花牌竞技，从此便一发不可收拾。进入高中后，她重逢了当年与她、绵谷一同参加比赛的真岛太一（野村周平 饰），于是两人联手创立了竞技花牌部。除她们二人外，还有大江奏（上白石萌音 饰）、西田优征（矢本悠马 饰）、驹野勉（森永悠希 饰）等成员参加。大家通力合作，一步步朝着全国大赛的目标前进，然而挡在他们前方的，则是有着悠久竞技花牌历史的名门学校北央学园，强大的对手毫不留情对这支成立不久的战队进行了碾压。在此期间，千早得到了绵谷的消息，她满心欢喜，期待这位与久别的好友再度走上竞技花牌的赛场……

简介：

一伙恐怖分子袭击体育场，而拯救的任务却落到一个在现场的退役军人身上。

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：

八十多岁的马亚迪是印度泰米尔纳德邦偏远村庄里最后一位仍在耕耘的农民。他的农活、田地和牲畜足以维持生计，他拒绝将土地出售给房地产开发商。然而，马亚迪原本令人愉悦且规律的生活方式却戛然而止，因为他被诬告杀害了三只孔雀——印度的国家象征——并将它们埋在自家土地上。虽然案件进展曲折，但身陷囹圄的马亚迪主要担心的是他的庄稼，这些庄稼是用来祭祀神灵和祈求雨水的。由于马亚迪一直不在农场，代代相传的农耕传统可能会永远消失。除非其他村民联合起来采取行动。

简介：

李尔王（Romayne Andrews 饰）年事已高，他决定将广袤的国土分给自己的三个女儿科迪莉亚（Natalie Simpson 饰）、格纳利尔（Nia Gwynne 饰）和里根（Oliver Johnstone 饰）。李尔王让三个女儿说出各自心中对父王的爱戴，格纳利尔和里根极尽花言巧语之所能，得到了李尔王的赞赏，小女儿科迪莉亚质朴而诚实，反而遭到了无情的驱逐。失去了家园的科迪莉亚成为了法国的王后，而得到了父亲大片疆土的大女儿和二女儿则将李尔王赶出了家门。直到流落荒野无处可去，李尔王才明白自己犯了天大的错误，他一边责怪自己的愚昧，一边心痛科迪莉亚的遭遇。得知了李尔王的境遇，科迪莉亚组织了军队准备向老家进攻，不幸的是，军队遭遇惨败，科迪莉亚也遭到了逮捕。最终，科迪莉亚被处死，年迈的李尔王在痛苦中亦追随而去。