扬名立万

简介：故事发生在第二次世界大战期间，为了躲避战火，坚强的母亲塞西拉（索菲娅·罗兰 Sophia Loren 饰）带着13岁的女儿罗塞塔（艾伦诺拉·布朗 Eleonora Brown 饰）离开了他们的故乡罗马，暂时来到地处偏远的小镇西赛罗定居。在这里，塞西拉结识了准备成为医生的小伙子米凯尔（让-保罗·贝尔蒙多 Jean Paul Belmondo 饰）。　　米凯尔是一个生性浪漫的男人，热爱文学，他教罗塞塔识字读诗，久而久之，罗塞塔爱上了他，可是很显然，米凯尔的目光始终锁定在塞西拉的身上。为了帮助塞西拉搞到食物填饱肚子，米凯尔来到了父亲的朋友家，哪知道在那里遇见了一个德国军官，德国军官强烈谴责米凯尔不上战场的行为，并且打算强行把他带走。

简介：影片讲述日籍空手道教练收了一个女徒弟，她是他的战友的孙女。她倍受同学欺负，因而要拜宫木为师，学空手道自卫，最后成为空手道比赛的冠军。

简介：根据约翰·马克斯韦尔·库切的同名小说改编，这位诺贝尔文学奖得主将自己的作品改编为剧本。故事的主人公是一位大英帝国海外殖民地的法官，他开始怀疑自己对于帝国的忠诚。

简介：一医生成命案疑犯，他潜逃到澳门隐姓埋名，当了黑市医生，遇上一神秘婆婆、可怜少女、自称为转世灵童的藏人和黑道大哥。婆婆为他解开昔日命案疑团，原来她竟是其前女友……

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：时隔32年，非洲王子阿基姆登基当了国王，老国王告诉他，他在1988年的美国之旅留下了私生子，于是二人组再度前往美国，新的美国之旅开始了。

简介：深夜的九龙湾是飞车手最爱流连的地方，皆因喜欢赛车的都喜在此聚集，以飞车为乐。故事的主人翁赵志冲（张智霖）是一个爱车如命的赛车手，在碰上死对头狮王（吴国敬）的当晚，决定作一比赛并以Carmen（李丽珍）为赌本，可惜却因技术故障造成伤亡。赛事之后狮王落荒而去，只得冲仍留在现场替各人急救，Carmen也因此而对他留下深刻印象。　　Michael（魏俊杰）乃反飞车组督察，决意要打击非法赛车，并要求狮王做线人好打击冲等人。于是狮王提议冲来一次“世纪之战”，背后却原来是Michael设下陷阱。赛车再次造成人群伤亡，冲的好友博士（黄秋生）也因此而车毁人亡，迫使冲决定要用自己的方法去对付狮王。

简介：《长沙夜生活》是首部展示长沙城市新风情和新时代蓬勃风貌的电ccc。影片由潇湘电影集团领衔出品，中共长沙市委宣传部参与联合摄制，张艺兴、尹昉、张婧仪等湘籍演员主演，受到社会各界的广泛关注与期待。此次首映特别直播将创新打造一系列具有长沙文化特色、贴近人民群众生活的文艺节目和创意互动，荟萃长沙美食文化、夜生活文化中的人文亮点。

简介：刑警队长兰少平因工作失误被革职。被革职的兰少平发现“罪案实录摄影展”的冠军作品表现的是一起有预谋的谋杀案，可其他刑警都不同意这种说法，作者金佑昆说是她的偶然发然。冲破重重阻力，兰少平的调查有了进展，他在金家找到了凶器，但一直到暗恋金佑坤的冯大可的出现才使案情真相大白……

简介：杰西·威廉姆斯、乔丹娜·布鲁斯特加盟，杰伊·巴鲁切尔自导自演新片[随机暴力行动](Random Acts Of Violence，暂译)。本片根据同名漫画小说改编，将围绕漫画作者托德(威廉姆饰)、他的女友(布鲁斯特饰)、他的助理(妮娅姆·威尔逊饰)、他的好朋友(巴鲁切尔饰)展开。在从多伦多到纽约参加动漫展的路上，人们开始像托德漫画中的方式被杀害。很明显，是有一个狂热粉丝在搞事......本片正在拍摄，将持续到9月。

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：拉娜（科琳娜·哈弗奇 Corinna Harfouch 饰）是一位拥有杰出天赋的天才钢琴手，在这一领域里有着无量的前途，然而，为了爱情，拉娜放弃了自己的事业，选择金盆洗手在家安心的相夫教子。本以为自己的牺牲能够换来丈夫的感激，但一切似乎并没有像拉娜所想像的那样发展下去，丈夫的离去，儿子的疏远，都将拉娜一步一步的推向了人生的深渊之中。　　拉娜的儿子维特（汤姆·希林 Tom Schilling 饰）同样也是一名杰出的钢琴家，在拉娜六十岁那年，她震惊的发现，儿子竟然没有邀请她去参加自己的首场钢琴独奏会，更离谱的是，维特邀请了父亲和父亲的现任女友。