红杏出墙2013

简介：在南美洲人迹少至的热带雨林深处，经过六年的努力，生化学家罗勃肯贝尔博士，研发出一种癌症治疗法面临一项重大的医学突破。一位冷静的女性学者当可琳博士历经一段艰困的会面；这一对互相厌恶的伙伴终于产生了共同的尊重，而实际的爱苗也滋生于这片异国风情的热带雨林中……

简介：1956年奈及利亞的奧洛伊比里村莊被發現有石油，為村民帶來生活的繁榮與就業機會。在結束最後一次鑽探後的二十年裡，奧村的河流、空氣、土壤遭受到重度的汙染，村民也紛紛致癌，村長提米普對於當初鼓勵大家積極參與石油開採感到悔恨。當美國新進石油開採公司弗蕭，正慶祝即將在此重啟的油井，將帶來巨額的收入時。當地的激進分子阿火率領組織、密謀計畫，將對貪婪的商人進行報復…

简介：大半生在银幕上历遍人间生离，年逾古稀却怎也无法在镜头前演出死别一刻。趁剧组停拍，资深演员到蔚蓝海岸探望故友。来到荒废大宅，偶遇拿着摄影机拍鬼片的孩童，唤起《四百击》（1959）男孩与电影初邂逅的情缘；梦回与貌美如昔的情人灵魂相遇，重拾一生铭记的爱恋。生命将尽之际，终领悟怎样与死亡共存。诹访敦彦给法国新浪潮的情书，让特吕弗与戈达尔爱将让-皮埃尔·利奥德，将前世今生铭刻于光影里。且唱一阕狮子的挽歌，化作生命礼赞，伴随梦去。

简介：拉丽莎（阿丽萨·弗雷因德利赫 Alisa Frejndlikh 饰）拥有非常美丽的外表，她本是衔着金汤匙出生的千金小姐，无奈家道中落，如今的一家人过着捉襟见肘的生活。拉丽莎有两个姐姐，她们都已经嫁为人妇，拉丽莎是母亲最后的希望，母亲想要她嫁给一个有钱人，如此她才能够再度过上富裕的日子。　　拉丽莎爱上了名叫巴拉托夫（尼基塔·米哈尔科夫 Nikita Mikhalkov 饰），与此同时，一个邮政部门的小职员卡朗迪耶谢夫（安德烈·米亚赫科夫 Andrey Myagkov 饰）也在热烈的追求着拉丽莎。本来，拉丽莎和巴拉托夫之间感情发展的很顺利，哪知道天有不测风云，巴拉托夫破产了，之后，他选择了离开。痛苦之中，拉丽莎被卡朗迪耶谢夫趁虚而入，两人订了婚。

简介：明朝年间，天下第一富商沈世杰临终前以奇门遁甲之术建造天机宝库封存巨额财富，不料死后竟被贼人环伺劫掠了沈家后人沈雨馨，段十一郎为救沈雨馨以及保卫天机宝库，召集江湖侠客深入西域荒漠，一路披荆斩棘，正邪两派开启了一场刀光剑影荡气回肠的生死较量……

简介：士兵调查妻子失踪案，潜入设施，认为她被贩卖了。发现设施是一个模糊现实与幻想的未来幻想公园，这让他寻找妻子命运真相的过程变得复杂

简介：九七香港回归使家贤（何华超）等5名已近不惑之年的华籍英兵成了“无用”的人，然而他们虽然深知无力与年轻一代争抢舞台，却仍在尽力给自己找寻新的位置，但许多事并非有心努力就能做成，朋友Bobby虽重新将自己确定，家贤却只能通过弟弟家璇（李灿森）的引荐铤而走险加入黑帮，等待命运将他捶打。　　无论性格还是社会地位，家璇都与家贤形成鲜明对比。家人明显更看重家璇、年轻女中学生对家贤等老兵恣意嘲笑奚落的同时对家璇作盲目崇拜等情节，或许暗喻了港人在新旧交替时刻的复杂心理。

简介：尼克·罗宾森、迈克尔·珊农、布丽特·罗伯森、亚历克斯·帕蒂弗将主演剧情片[回声潮世代](Echo Boomers，暂译)。影片根据真实事件改编，以一群幻想破灭的20岁青年为中心，他们闯入富人家中并实施盗窃。这将是塞斯·萨沃伊的导演处女作，剧本也由其独立撰写。

简介：夏天的某个周末，金小蓓（张雅琳）、张建力、侯红携带北京的朋友赵尘（黄志忠）、马洋回到长江边的家乡游玩，仍呆在故乡小县城的如今做了警察的中学同学于栋（郭晓冬）高兴过后，同他们一道迎来想藏也藏不住的现实生活中的无趣和尴尬。　　金小蓓是于栋的初恋情人，她与现任男友赵尘因对未来不知所措关系很紧张；面对外表看来无大变化的金小蓓，联想起自己同老婆枯燥无奈生活的于栋打翻了心中的五味瓶。而一张写有“爱你到死”的纸条则触及了所有人内心的隐秘，各种猜忌和怀疑开始上演。

简介：剧情简介暂缺，敬请期待

简介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

简介：一个女人被绑架，发现自己是一个不情愿的参与者在一个致命的游戏中，妇女被蒙面男子追捕。