丐世英雄

简介：

 A heartbroken man returns to the home he shared with his ex-boyfriend, where visceral memories force him to confront the fissures that led to their parting: when the 'casual threesome' they planned evolved into something more.

简介：本片围绕全国公安系统二级英雄模范、全国特级优秀人民警察、全国公安机关爱民模范戚恩雨同志的事迹改编拍摄，是全省公安机关开展基层基础建设三年攻坚战、社区民警走近群众、服务群众的真实体现，充分展现了公安机关着力构建和谐警民关系……

简介：影片主要讲述不谙世事的合欢铃为救主人而化作人形，来到人间，在同门的指引下来到百花谷寻找救命灵药，却不曾想由此陷入了一场未知的阴谋之中。而在寻找滴血灵丹的过程中，合欢铃与司马家传人司马玉欢之间结下了深厚情谊，并逐渐成长......

简介：下属的一个失误令身为上司的郑凯（黎明 饰）事业陷入困境停滞不前，不仅如此，他还得承担下属造成的巨额损失。郁闷至极的郑凯只能借酒消愁，在酩酊大醉之际，一位陌生的黑车司机（耿乐 饰）将郑凯送回了家并且留下了电话，此时的郑凯并不知道，这名神秘的男子，将彻底改变他的一声。　　黑车司机反常的态度和疯狂的举动令郑凯感到不寒而栗，他并不记得自己和此人说了什么，那一夜两人又经历了什么。没过多久，一直为难郑凯的上司突然惨死，而郑凯则成为了警方重点怀疑的对象，只有郑凯知道，这一切和黑车司机有着脱不清的干系，而随着时间的推移，黑车司机已经在不知不觉中来到了他的身边。

简介：

剧情介绍： 　　阿银为帮补家计,到沙三少家当佣人。沙垂涎银美色,为迫银夫谭阿仁让妻,竟杀害仁。徐大人查出真相, 　　沙终被判斩首。 　　导演：李寿祺 　　编剧：李寿祺 　　摄影：崔鑫玉 　　剪辑：余纯 　　服装指导：黎珠 　　场记：甄天秀 　　剧务：冯少康 　　灯光(照明)：胡炳雄 　　置景：陈其锐 　　道具：林华三 　　录音师(收音)：李伦华 　　化妆：黎兆华 　　摄影助理(机工)：赵勇 　　演员表： 　　石燕子 ...... 沙三少 　　唐醒图 ...... 谭母 　　红眉 ...... 银姐 　　柠檬 ...... 谭阿仁 　　少新权 ...... 沙凤翔 　　梁素琴 ...... 三少奶 　　程丽 ...... 沙母 　　袁步云 ...... 阿全 　　许莹英 ...... 阿娥 　　梁丽霞 ...... 春兰 　　巢非非 ...... 赖师爷 　　胡天 ...... 二叔 　　杨秀凤 ...... 二婶 　　关仁 ...... 猪肉佬 　　李鹏飞 ...... ...

简介：教宗即將來訪！預計有數萬名群眾將湧進這個小村…。窮困的村民聽到這個好消息，高興得快要昏倒！他們打算趁機海撈一票，於是個個使出了渾身解數：有人要賣西班牙香腸，有人要做美味點心，也有人打算以燒烤的色、香、味，來誘惑教宗…。　　面對這大好商機，貝托突發奇想，他決定在自家門前蓋個洗手間來獻給教宗；到時光靠路過的民眾，就能使他大發利市。貝托於是開始囤積大量衛生紙，並冒著生命危險，越過邊界去找一只在此地稱得上「稀有」的馬桶…。為了應付屆時大排長龍的人們，貝托甚至苦思對策，該如何使客人不會在裡面逗留太久…。　　教宗就要來了！熱情沸騰的村民們，個個磨拳擦掌，準備迎接這史上空前的賺錢良機！但人已到隔壁村的教宗，卻遲遲還沒過來，村民都焦急的不得了…。教宗最後會來嗎？他又會帶來多少人潮和商機呢？每個人一生中最大的幸福和夢想，都押注在這具有決定性的一刻上！…

简介：大卫（克里斯托弗·高哈姆 Christopher Gorham 饰）的妻子身患绝症，在不久之后就永远的离开了丈夫，只留给了大卫一个年幼的儿子帕特里克（朱利安·费德 Julian Feder 饰），就这样，大卫成为了一名单身父亲。帕特里克是一个特殊的孩子，他患有自闭症，这令大卫本就困难的单身父亲的生活雪上加霜。从前，都是妻子负责和帕特里克沟通，如今这件事落到了自己头上，大卫发现自己竟然不知道如何开口，也并不了解儿子脑袋里整天都在想些什么。　　生活对于帕特里克来说也是一样的困难，在绝望年前，大卫和帕特里克同样的选择了躲进自己的世界里——大卫找到了一份非常繁忙的工作，全身心的投入其中，而帕特里克则躲进了自己幻想中的魔幻视界里。

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：本部影片讲述老妇人安吉拉（黛纽塔·辛波斯卡 Danuta Szaflarska饰）在临去世前几天与世隔绝的日常生活。这冷清孤单的世界里，既有她对死亡的恐惧，也有她记忆中曾经的幸福与梦想。与老人相伴的只有她唤作“Phlia”的小狗，安吉拉喃喃自语，自问自答。她一心挂念着自己的儿子，可最终也没能相见。在死亡悄然逼近的时候，安吉拉总是望向窗外的秋千，好像回到了从前的快乐日子。在宁静的摇曳着怀旧情怀的黑白光影里，影片默默地记录着老人最后的弥留时光。　　影片荣获2007年波兰电影节观众奖、最佳女主角、最佳音响、影评人奖。

简介：

　　稻穗摇曳、风景怡人的大片稻草田中央竖立着一家充满温馨的老人院。可惜里头年纪最大的两位活宝贝——林丹（林耀明饰）和财叔（覃业水饰）总爱话当年、比较谁的孩子最有出息。身边的老人们都听得厌倦，甚至起义要他们拿出证据。于是两老决定秘密潜逃至吉隆坡寻找证据。可惜潜逃当晚，财叔因发生意外而无法与林丹一同偷上邻居阿福（林德荣饰）的罗里，搭顺风车去吉隆坡。
　　阿福的母亲由于腰伤而必须在吉隆坡求医，唯暂住表妹多好（尹汇雰饰）家。以卖煤气为生的阿福因此常常驾着残旧的罗里上吉隆坡探望母亲，却遇上正在潜逃的林丹，唯有无奈的顺便载他到吉隆坡。有次表妹为了替阿福霸车位却弄丢了患有老人痴呆的福妈。
　　抵达吉隆坡后的林丹经阿福协助找到财叔的儿子林效舜（颜江翰饰），却发现效舜原来是个虚伪的不孝子。同时林丹也发现自己的孩子林凤娇（卓卉勤饰）和林志颖（陈志康饰）并不如想象中那么风光，但依然与孩子共渡了愉快的一周，带着满足的心情回到玻璃市老人院。此时，林效舜竟然出现老人院，揭破一个大谎言……
　　Two fathers, Uncle Lim and Uncle Lam live in an old folks’ home. Uncle Lim is Hokkien while Uncle Lam is Cantonese. Apart from integral differences of different dialects (e.g. fighting over WLT and HHD), they always argue about whose children has done better and how filial piety they have been. While Uncle Lim thinks that he may have gotten cancer and don’t have much opportunities to see his children again, and aggravated by an argument, the two men decided to escape from the old folk’s home to find their children and bring back evidence so that the rest of their friends can judge whose children is better. While trying to escape, Uncle Lam hurt his leg leaving Uncle Lim to continue his journey alone......

简介：

维维卡（莫尼什·巴尔 Mohnish Bahl 饰）在父母结婚25周年的晚会上邂逅了名叫萨德拉（塔布 Tabu 饰）的女孩，两个人一见钟情。维维卡在过去的一场事故中为了救弟弟而身受重伤，左手完全失去了直觉，他觉得自己的残疾会拖累家庭，所以对成家一直非常抗拒。然而萨德拉的心意已决，非常坚定的想要成为维维卡的妻子，她的决心打动了维维卡，两人携手步入了婚姻的殿堂。 　　普瑞姆（萨尔曼·汗 Salman Khan 饰）和普丽缇（索娜丽·本达里 Sonali Bendre 饰）是青梅竹马的玩伴，虽然两人都不承认对彼此的感情，但在外人眼里，他们很显然已经心系对方了。

简介：唐山（甄子丹 饰）留洋学得医术后归国，与助手刘国邦在上海闸北的贫民区开设西医诊所。当地斧头帮恶霸于老七（于荣光 饰）为了得到一块地皮，经常带人殴打村民，唐山与刘国邦出手制止行凶，又义务诊治受伤村民。为制止于老七，唐山拜访了那块地的主人——自己在英国时的老师西蒙，以为西蒙工作为代价，唐山保住了村民的土地。于老七的妹妹于小倩（朱茵 饰）多年来患有喉疾，不能说话，笃信狐仙的于老七以为求仙可令妹妹痊愈，排斥西医治疗，小倩机缘巧合结识唐山，后者的诚意打动了小倩，令其接受了手术。与此同时，贫民窟中的孩子们陆续失踪，唐山发现此事的幕后主使是斧头帮和西蒙，一场恶战在所难免。