杀死吉姆·凯利

简介：该片聚焦在1957年的夏天，讲述了法拉利与玛莎拉蒂争夺赛道霸主地位的传奇故事。一天早上，前赛车手恩佐·法拉利的妻子接到两通电话，被告知让·贝拉刚刚从米兰过夜赶来。发现法拉利并不在家中，妻子劳拉十分恼火，因为两人一直在维系着名存实亡的婚姻，他们约定每天早上必须准时一起喝咖啡。当法拉利得知，贝拉此次专程来米兰，就是为了挑战法拉利的赛车记录，他打电话向朋友莫所里尼求助。气急败坏的妻子直接向法拉利开枪，她告诉法拉利，他们的公司将要破产。他们的儿子迪诺两年前死于肌肉萎缩症。当法拉利在教堂和墓地沉浸于失落和悲伤的情绪中时，贝拉已经在赛道上蓄势待发。意外不断，他的赛道好友莫所里尼不幸去世。法拉利别无选择，必须迎战危险的米尔·米利亚，拿到赞助资金。米尔·米利亚赛程艰辛，途径山谷、树林、草地、急流，遭遇暴雪等极端天气，到处充满着危险，一路上法拉利与玛莎拉蒂等赛车经历激...

简介：讲述1970年代，想要重拍电影《蜘蛛网》结局的金导演（宋康昊 饰），遭到审查部门的干扰以及演员、制片人的反对，在如此混乱的情况下进行拍摄而发生的令人哭笑不得的故事。

简介：《马尔文科》根据2010年同名纪录片改编，讲述了Mark Hogancamp的真实故事。这个男人在被5名青少年暴打之后，陷入长达九天的昏迷，醒来后失去了记忆，他的生活、朋友和家人什么都不记得了。　　作为一种特殊的治疗手段，Mark Hogancamp开始在自家后院，用1：6的模型玩偶创作出了一个二战时期的比利时小镇，他将之称为“马文科尔”（Marwencol），他用玩偶代表自己、朋友和那些殴打他的人。　　“马文科尔”在一定程度上修补了Mark Hogancamp的头脑，同时也让他创造出了一个奇幻的世界。而这个世界通过Jeff Malmberg在2010年公映的纪录片，也得以让更多的人看到。

简介：1942年，日军侵华的战火烧到了冀中平bbb。俯首称臣只有死路一条，奋起反抗才是最终的出路，冀中的人民都动员起来共抗日军了，高家庄更是调集了大量民兵。为了对抗日军的飞机大炮，当地人民利用地貌开凿出了一条条错综复杂的地道。民兵队长高传宝（朱龙广饰）利用这些巧妙的地道，率领民兵与日军展开迂回战术。虽然曾因队伍里的败类汤丙会（刘江饰）的出卖而吃了不少苦头，但是智勇双全的高传宝最终率领队伍利用地道围剿了日军，清理了汤丙会，并活捉了日军领队山田（王孝忠饰）。地道战的胜利奏响了冀中反日的最强音。

简介：台湾军教片《报告 班长7》宣布开镜，导演梅长锟、演员 庹宗华、赵骏亚、威廉、黄姵嘉、李 兴文出席开镜记者会。过去在《报告 班长》系列电影中担任“军队班长”的 庹宗华也将“班长”角色交接给演员赵 骏亚，象征军教片的世代交替。

简介：由于俊雄多日未到学校上课，他的班主任小林俊介（柳忧怜 饰）赶来家访，看到精神恍惚、举止怪异的俊雄，并获悉川又伽椰子对自己的心意。这时他接到佐伯刚雄的电话，得知怀孕的妻子已被对方残忍杀害，与此同时，被杀死的伽椰子也出现他的面前。惨案不久，通灵者铃木响子（大家由佑子 饰）受经营地产中介的弟弟达也（芦川诚 饰）之托调查佐伯家房子的情况。响子向弟弟提出忠告，但她很快便发现厄运已经找到她和侄子信之的头上。另一方面，购买这幢房子的北田夫妻也开始了他们恐怖诡异的生活。咒怨不灭，死者连连……　　本片为咒怨系列OV版第二部。

简介：岡山県岡山市。柏木寿夫は、養護学校を定年退職した後、障害者や高齢者を乗せる福祉車両を運転している。その傍ら、自宅の庭で地域の野良猫たちにエサをやりつづけている。ところが最近、外部の「泥棒猫」がエサを目当てに庭へ侵入してきて、にわかに猫社会の緊張が高まっており、頭を悩ませている。寿夫の妻・柏木廣子は、高齢者や障害者の自宅にヘルパーを派遣するNPOを運営しているが、国の福祉予算の削減で苦しいやりくりを迫られている。家では、猫の餌付けのことで夫に不満を抱いている。廣子は週に一度、91歳になる橋本至郎の生活支援に出掛ける。橋本はネズミとダニだらけのアパートに一人暮らし。己の死を見つめる日々を過ごしている。戦争中、兵隊として徴集された過去があり、その記憶がよみがえる。　　岡山県岡山市で暮らす暮らす人々や猫たちの淡々とした日常をつぶさに描き出しながら、平和とは、共存とは、そしてそれらの条件とは何か、哲学的に問いかけるエッセイ風の観察ドキュメンタリー。生と死、拒絶と和解が複雑に交錯する日常。そこに見出される「平和」「共存」へのヒント。ナレーションや説明テロップ、音楽無しの観察映画・番外編。

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：A famous vlogger commits suicide after her content is based online. When she is about to kill herself, a man is quick enough to save her.

简介：纽约市一所艺术高中的入学考试现场，大量怀抱艺术梦想的青年冀希望于通过器乐、表演、舞蹈考试后踏上新一段的人生征途。考生们的风格与性格差异明显，将严肃的入学测试变成了一场意外频出的喜剧。痴迷于“未来音乐”的布鲁诺、懦弱却又为母亲期望而不得不应试的桃乐丝、吹嘘自己虚构父亲的雷夫、为朋友伴舞而意外入选的里洛等人顺利实现了愿望。开始了专业又艰苦的训练，他们不断扩充演艺技巧的同时，也在经历着人生与爱情的磨砺，并且偶而有学生因努力不足掉队。虽然前途充满艰难，但这些年青人在最美好的年纪释放着自身的梦想之光……　　本片获1981年奥斯卡最佳原创音乐奖，金球奖最佳原创音乐奖等褒奖。

简介：高级舞男朱利安（李查•基尔）的谋生手段是，在经纪人的安排下，凭借其出众的相貌和出色的身体条件，帮助有钱女人解决掉性的饥渴，换得数目不菲的“酬劳”。但在结识某位参议员的妻子米雪儿后，朱利安与她生出了真情。　　朱利安被指控涉嫌一桩谋杀案，然而该案发生时，他实际上正与米雪尔共浴爱河，为了洗清冤屈，他找到米雪尔做他不在场的证明，可是这样以来，两人的关系就会曝光，米雪尔会身败名裂。两人陷入对无可知的未来的巨大恐惧中。

简介：When successful New York marketing executive Katherine discovers her workaholic ways are taking a toll on her eight-year-old son, Zac, she decides to spend Christmas with him and her mother, Lilly in her home town on the bayou. When Caleb tries to rekindle a childhood romance and convince her to move back home, Katherine is torn between the bright lights of the big city and the quiet, gentler rhythms of her Southern roots. Only a Christmas miracle orchestrated by Papa Noel can steer her heart to her true home.