• 欲望的果实

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    Two teenage friends conspire to find out how much their youthful sensuality can disrupt one of their households, headed by a dentist and his mentally-ill wife.

  • 重生之时

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    一位女性因为她丈夫的罪行而入狱,而她唯一的出路是解开她神秘过往中的谜团。

  • 谎言与错觉

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    一位来自纽约的编辑对一本暴力小说的作者着迷,她私下里调查了他的过去   一个作家深爱的妻子被莫名其妙地杀害。2年后他被一个奇怪的美女缠上,后来妻子突然复活出现。原来作家的妻子是个江洋大盗,因为偷了走私贩的钻石而被追杀,奇怪的美女是联邦调查局的特工。后来两个美女联手,结局是坏人死了,美女得到了她想要的走私贩的客户名单,作家和妻子又和好了,和钻石一起过上了幸福的生活。

  • 恐怖欢乐屋

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    热闹的嘉年华来到平静沉闷的小镇,两对青年男女:艾米?哈勃(Elizabeth Berridge 饰)、巴兹?克莱蒙特(Cooper Huckabee 饰)、里奇?艾特伯雷(Miles Chapin 饰)和莉兹?杜肯(Largo Woodruff 饰)结伴前来玩耍。长夜将尽,年轻人兴致盎然,不愿离去。莉兹提议彻夜留在欢乐屋内,得到众人一致同意。   然而他们却在这里看见一个身材巨大、戴着科学怪人面具的恐怖杀手(Wayne Doba 饰)。随后他们更惹怒了欢乐屋的主人,一场针对这四个年轻人的杀戮旋即展开……

  • 来自火星的消息

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    马尔斯(弗朗索瓦·达米昂 Fran?ois Damiens 饰)是一名名不见经传的小小程序员,按时上班下班,回家吃饭睡觉,他的每一天都在循规蹈矩之中度过。个性非常普通的马尔斯从来都不会给人留下什么深刻的印象,因此在岗位上也很难得到上司的重用。和马尔斯不同,马尔斯的妻子米莉亚姆(蕾雅·德吕盖 Léa Drucker 饰)是一个彻头彻尾的工作狂,整日将全部的精力都挥洒在岗位上,于是,照顾两个孩子沙拉(Jeanne Guittet 饰)和格雷古瓦(Tom Rivoire 饰)的责任就落在了马尔斯的肩上。   马尔斯对这两个孩子可谓是毫无办法,大女儿沙拉和母亲一样总是沉浸在自己的世界中,整日足不出户。而格雷古瓦在某一天突然宣布他要成为一名素食主义者。

  • 奇迹少女2023

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    故事讲述怯懦又富有正义感的少女马丽娜获得“米可幻奇”的力量成为新手英雄“奇迹少女”,并在抗击罪恶中结识另外一位英雄“黑猫罗尔”。两人并肩作战一起共同成长并守护世界和平……

  • 独身向前

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    莉拉16岁的早晨,就跟往常一样,不小心贪睡了一点,但今天稍微有些不一样,没人敲她房门催促她快点起床。等她终于清醒,却遍寻不着她的父母。莉拉出门却发现不但邻居、整个小镇、社区甚至整个城市,都找不到半个活生生的人影,所有的人都消失了。面对宛如世界末日的情景,莉拉陷入了自己是某场灾难唯一幸存者的恐慌,然而,在她跌跌撞撞的同时,她终于和其他4名青少年相遇了……   5名少年少女试着在寂静无声的世界生存,然而,究竟是什么原因带走了其他人?又有什么潜伏在暗处,兴味盎然地观察着他们呢?

  • 黄色壁纸

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    简是一位作家,也是一名年轻的母亲。简的医生丈夫约翰为了对产后忧郁的妻子进行休养治疗,带她去了一个偏远的乡村庄园避暑。简被丈夫为她精心挑选的卧室里的黄色壁纸迷住了。之后,简发现一个女人竟被困在壁纸中,简试图解救她。。。

  • 欲海潮1992

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    大牌影星朱·巴瑞摩尔曾在著名科幻巨片《E.T.外星人》中饰演一位惹人喜爱的小女孩歌蒂,而在《欲海潮》一片中,观众所看到的巴瑞摩尔已不再是一个小女孩了,她已经成长为一名成熟性感的大艳女。  茜维是一个叛逆不平的富家女,在一个偶然的机会遇到了与自己个性迥然不同的艾薇,她热情开放的举止及特有的神秘色彩让茜维为之震撼,因好奇心驱使她一心想与她成为好友,因缘际会下,艾薇住进了茜维家,但从此灾难接踵而至,父亲被艾薇诱惑出轨,母亲离奇堕楼而亡……

  • 临阵脱逃

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    在一场混乱后,小混混丹尼斯突然成了中风患者雷蒙德的看护。他原本只想闯入雷蒙德的房子,以偿还一些骗子的债务。而现在的他,恰恰相反,被“囚禁”在富商雷蒙德的房子里。雷蒙德因为中风发作,所有行动被限制在轮椅上。与此同时,雷蒙德的孙女夏洛特前往照看他,“巧遇”宅子里的丹尼斯,这无疑打乱了丹尼斯的计划。然而,逃离绝不是一种好的选择,因为该地区正遭受暴风雪的肆虐。因此,丹尼斯必须继续扮演看护者的角色。与夏洛特相反,雷蒙德却是早已看透丹尼斯。就此,一场“就地取材”的猫捉老鼠游戏,在行动不便的年长者和聪明的年轻人间展开……

  • 黄金国1921

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    19世纪,描写美与丑的文学作品风靡一时。“美”之古怪亮丽,有供人欢愉的脱衣舞会所,有病势严重的私生子,有麻木不仁的上层人士,有父亲之命的婚姻,还有未遂企图的凌辱糟蹋,以及其他。“美”之感情丰富,既有美丽者如真爱,也有残酷者如恐惧与恨。被身处社会上层的爱人无情抛弃之后,可 怜的女人为了支付儿子的医药费,无奈旋舞于众人之前,卖弄色相。受迫于父亲之命,心早有所属的姑娘不得不面对即将于一位年逾古稀者结为夫妻的残酷现实。  摄于1921年,法国马塞尔·莱皮埃导演,片头字幕中特别注明:这是一出“闹剧”,表达了莱皮埃对汤玛斯·英斯那种平凡的轶事式的题材的轻视,他以标新立异的形式讲述了西班牙舞女西比拉的悲剧命运。莱皮埃从法国的印象派画家和美国的格里菲斯以及瑞典的斯约斯特约姆的艺术成果中吸取营养,把特技作为重要的电影表现手段。影片中精练而完美的摄影技巧,使西班牙的户外风景和室内布景协调一致,并对剧情发展到起重要作用。影片还探讨了艺术技巧抒发激情的方法。

  • 钱1983

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    一个男孩因为向父母讨要零花钱失败,去当了自己的手表,却换回一张500元法郎的假钞。之后,这张假钞在很多人之间转手,最后落到了一个叫伊文(克里斯琴·佩蒂 Christian Patey 饰)的年轻人手中。伊文试着去餐馆花掉这张假钞,但被服务员发现了。警察认为他参与了假钞贩卖案而逮捕了他,但法官念他初犯,没有给他判刑。伊文释放之后,丢了工作。没有了钱,他只好和朋友去银行抢劫,却又一次栽在警察手里,被抓进监狱,被判刑三年…… 本片是布列松的最后一部作品,改编自托尔斯泰的短篇小说《伪息券》,曾获第36届戛纳电影节主竞赛单元最佳导演奖。

  • 纽约夜月情

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    Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'  By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.  Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.  One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.  While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with hisher partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.  Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

  • 白色巴士

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    An impassive young girl is taken from her suicidal London life, back to her home in North England on a bizarre bus trip. Seen through the poetic eye of the camera, this is a commentary of doomed British morbidity. In HD.

  • 疯狂店员

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    美国的小众独立电影,讲述了便士多店小店员但丁(布莱恩·奥哈罗兰 Brian O'Halloran 饰)郁闷抓狂的一天。过了睡眠质量极差的一晚后,但丁大清早被老板叫去加班。这只是倒霉的一天的起始,接下来,还有更多麻烦事情接踵而至,开店门、喷标语、遇见唠叨的反吸烟人士阻挠店面生意。一个头两个大的但丁,还要和前来店铺的女朋友维罗尼卡(玛丽莲·吉格洛尔蒂 Marilyn Ghigliotti饰)交流性生活经验。结果落得个不欢而散,因为女朋友拥有过的性伴侣数目实在令但丁叹为观止。  麻烦事还是一桩接一桩,这时前女友的到来令但丁的心狠狠振作了一下。他的艳遇到了,似乎终于可以扫走霉运。可是,卫生间内的“奇遇”,又摧毁了这件美好的事情。

  • 温柔女子1969

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    她典当最后的家当,一个金十字架,他震惊于她的美丽,多给点钱,她不肯要。美女与押店店主,一个珍视灵魂,一个贪求物质。错配的婚姻,开场已知结局:她用死亡换取自由。往后是押店店主第一人称故事,苦寻妻子自杀原因但徒劳,观众如堕迷雾,他自圆其说,画面故事益发绷紧。她的神秘,是布烈松的留白,观众的解读空间。导演爱把演员变“模特儿”,本次找来真模特儿杜明妮桑德,不因为她美,而是看中她的声线,但桑德的静,有澎湃感染力。布烈松第一部彩色,令温柔添残酷实感。

  • 死亡与变形

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    In sepia tones, the film moves back and forth among three periods in Robert Tucker's life he's an old man, near death, in a nursing home at Christmas time; he's in middle age caring for his cheerful but dying mother; he's a lad at Catholic school, practicing his catechism, going to confession for the first time, receiving the Eucharist, surrounded by the singing of a children's choir. In middle age, he looks through his scrapbook of photographs of muscular men; he recalls lovers and his mother's cremation. A nurse sits beside him on his last night; in his last breath, he reaches forward and back..

  • 欲海潮

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    大牌影星朱·巴瑞摩尔曾在著名科幻巨片《E.T.外星人》中饰演一位惹人喜爱的小女孩歌蒂,而在《欲海潮》一片中,观众所看到的巴瑞摩尔已不再是一个小女孩了,她已经成长为一名成熟性感的大艳女。  茜维是一个叛逆不平的富家女,在一个偶然的机会遇到了与自己个性迥然不同的艾薇,她热情开放的举止及特有的神秘色彩让茜维为之震撼,因好奇心驱使她一心想与她成为好友,因缘际会下,艾薇住进了茜维家,但从此灾难接踵而至,父亲被艾薇诱惑出轨,母亲离奇堕楼而亡……

  • 撒旦日记

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  • 希波克拉底

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    本杰明想成为一位伟大的医生,对此他深信不疑。但在父亲所在的医院部门的第一次实习,却事事不如意。实践比理论要难得多。责任过重,他的父亲常常缺席,和他一起实习的阿卜杜勒,是位比他经验丰富的外国医生。本杰明将突如其来地直面自己的局限,自己、病人、病人家属、医生及医护人员的恐惧。他的医生生涯的真正启蒙开始了。

  • 布鲁诺·里德尔,杀人犯的自白

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    In 1905, French seminarian Bruno Reidel is found guilty of murdering a child. At the request of the doctors observing him, he writes his memoirs to explain his action.

  • 回家的日子

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    玛蒂离家多年,弟弟担负起照顾家中重病母亲的责任。无数的日子过去,玛蒂的房间仍维持原样,时间好似因思念而静止在她离家的那一刻。有天玛蒂突然返家,即便当年的不满情绪依然存在,面对母亲即将不久人世,过往相处的回忆让她选择重拾亲情的温暖羁绊。本片为导演首部长片作品,取材自身经历,以充满诗意的画面诉说对母亲的情感。

  • 命回迁转

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    在斯蒂芬.路德医院的儿童看护房里,位于移植名单首位9岁的山姆.库佩正在等待着他的新肝脏。他的妈妈40岁的丽莎.库佩心脏手术的主任医师尽管每天都在拯救病人的生命,却不能救她的儿子,而感觉非常无助。当仅存希望的一个肝脏,在运输的路上损坏后,选择非法途径的肝脏成为了她的唯一选择。她抛弃了她一生都在致力于的医学系统,秘密地去了一个不知名的非洲国家的New Day 诊所。在一个废弃的墙的背后,山姆被作为人质,迫使丽莎为一个美国的有钱人62岁的克莱顿.泰勒做心脏移植手术。丽莎的希波克拉底誓词和她的母性的爱在手术桌上吉利的地征战着。当得知为了此手术,所要得的一个心脏,她要拿去一个年幼无知的小女孩的生命去换回山姆时,她立刻认识到,在这个游戏中一些人的生命的价值要比其他人还重要。

  • 八十年代的巨星

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    Vincent和Antoine都是狂热的乐迷,两人靠到处做工地秀苦苦支撑着一个小小的演艺公司。眼看生计难以为继,Vincent家中的一个小小皮盒给了他们创业灵感:Jeanne Mas, Jean-Luc Lahaye, Lio, Desireless, Peter Sloane, François Feldman, Début de soirée, Images, Cookie Dingler, Sabrina, Gilbert Montagné... 里面装满了80年代的畅销曲!让这些80年代的巨星重新登上舞台会大卖吧!?两位制作人于是出发去寻找那些已经被公众遗忘的明星们。从乡下小酒吧里的寒酸怀旧演唱会开始r……直到法兰西体育场!

  • 不朽故事

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    威尔斯唯一一部公映的彩色电影,故事依旧奇情:澳门富商从秘书口中听到一个爱情传说,有人为了香灯有后愿意付钱找人与妻子上床。传说归传说,但澳门富商却要使这个不朽故事成真,找来美女珍.摩露,当正是自己妻子,要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭,但影片拍来感人至深,53岁的威尔斯与成熟的珍.摩露演出动人不已,最后一个镜头更被影迷形容是「魔术」,令影片入围柏林国际电影节竞逐最佳电影金熊奖。  The only colour film by Welles publicly released is another showcase of the absurdity of human nature. A Macau millionaire is told a legend about someone who is willing to pay a huge sum for someone who would sleep with his wife in order to produce an heir. In an act to make the legend real and to immortalise it, the millionaire finds Jeanne Moreau to be his wife and starts to search for the man who would make love to her. A potent performance by Welles and Moreau makes the film purely magical; a Golden Berlin Bear nominee for Berlin International Film Festival.

  • 三颗纽扣

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    Appropriately, her own 14th arrondissement (specifically Rue Daguerre) is a source of pleasure for the protagonist (Jasmine Thiré) and viewer, having been photographed carefully, beautifully, and lovingly. The first word that this all brought to mind way “playful,” and I’m pleased that my simple descriptor is something Varda would consider appropriate. Says her, “It’s playing a game with reality. The game is called cinema.”

  • 黑暗死亡可怕

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    本片由多个恐怖而有趣的小故事组成

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