九

简介：

　　一位身无分文的母亲带着她的婴儿，踏上了漫长的旅程，去马尼拉寻找她的丈夫。但这次旅行不会是免费的，她必须出卖她的身体才能到达目的地。

简介：

 广州一条小街上，有几户人家：在家门口经营"多彩冲洗部"的青年个体户阿坚，做烧鹅买卖的阿金夫妇，玩鸟老头阿六夫妇，待业姑娘阿媚和母亲。他们住在同一座楼内，平日和睦相处。中秋之夜，他们都提早收市。晚饭后，大家早早来到楼顶平台上赏月，品尝应节佳品。被誉为"金嗓子"的阿媚更是开心，穿上父亲从香港捎回的拖地长裙为大家献上一曲《圆月亮》。阿媚和阿坚自幼青梅竹马，现在是一对恋人。阿媚的父亲在港经商，常寄钱回来，所以她生活优越，并不急于谋求职业。她对阿坚那种小生产既不愿做也看不起。阿坚却是个进取心极强的人。他精心经营生意，为人热情坦荡，被评为先进个体户。为陪阿眉散心，他约了几个朋友一起去歌厅看演出。快嘴的阿金还极力鼓动阿媚去报考星星乐队。不久，阿眉真的考上了。在宋队长和同志们的热情帮助下，阿眉成了队里的台柱子，朋友们都来向她祝贺。阿金不惜重金为阿媚买来一架钢琴，阿坚专门精心制作《歌星与歌》的影集送她，大家经常去歌厅为她捧场。爱慕虚荣的阿眉飘飘然了，她开始嫌弃朋友，不讲究科学发声，纪律散漫，没多久，就被乐队辞退了。然而她的朋友们却以自己的发奋努力获得了不同的进步。贤惠的阿芳以乐于助人的情操赢得了阿坚的爱情。阿媚断送了本来属于自己的爱情，整天悉眉苦脸。这时，阿坚和朋友们向她伸出友谊的手，鼓励并帮助她重新振作起来。阿媚转变了。不久，街道文化站里，朋友们请来了星星乐队为大家演出。宋队长向阿媚走去，欢迎她回到乐队里来。身穿洁白连衣裙的阿媚又出现在舞台上，台下响起热烈的掌声。 《街市流行曲》同《雅马哈鱼档》一样,反映的都是一般广州市民的生活,尤其突出表现了从事个体经营活动的青年人的生活。因此有人称这部影片是《雅马哈鱼档》的姊妹篇。 作为电影艺术,首要的美学特征是直观的真实。《街》片做到了这一点。从场景、服装、灯光及生活习惯都是比较自然的。影片中主人公们的喜怒哀乐也是日常生活中常可碰到的,这就使人们不感生疏,不感做作。比如影片中阿梅一家,阿坚一家及阿金、六叔一家共住的小楼的情境;在天台上共庆中秋佳节的喜庆气氛等都是极生活化的。

简介：儒生张于旦（黄国强 饰）偶遇狩猎的邑宰鲁公之女鲁飞飞（赵雪芹 饰），心生爱慕，不料鲁飞飞因杀生过多暴毙而亡。鲁公将女儿葬在张于旦寄读的萧寺内。是夜，张于旦在灵堂上香以表哀思，不一会儿席地睡去。夜深人静之时，一声声凄厉的惨叫从灵柩中传出，惊醒了沉睡中的张于旦。女道士进来告诉张于旦，如能为飞飞的鬼魂诵经万遍，方解飞飞在阴间刑罚，于旦闻言每日诵经不断。日复一日，飞飞终于显形于灵前，俩人诉说相思之苦。几年后，一个月黑风高之夜，黑白无常不期而至，拉走了沉醉在幸福中的飞飞，于旦如万箭穿心却无可奈何。土地爷（刘金山 饰）告诉于旦，是阎王爷让飞飞转世投胎去了，于旦闻听大喜......　　本片改编自《聊斋志异》中《鲁公女》章节。

简介：

男主水生胆小懦弱，小时候和父亲一起捕鱼时，亲眼目睹父亲被怪物“水猴子”杀害，水生从此留下了心理阴影。十年后，怪物“水猴子”再次出现，杀害了水生爱慕的的香兰弟弟和父亲。为救香兰不被当“水猴子”的“祭品”，水生开始学习捕鱼和水上技能，并集结村民的力量，一起踏上讨伐“水猴子” 之路，一场大战即将在河边一触即发......

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：天圣八年，岁在庚午。　　许府之中发生命案，探事司亲事官联合开封府派捕快拾生（蔡佩池饰）调查案情。拾生查验现场，发现许员外死于川乌之毒，拾生询问过许夫人当时经过，许夫人却讲起了二十二年前听雨楼中名噪一时的歌妓谢筱菀所舞的那曲“十面埋伏”。　　拾生调查陷入僵局，一切线索全部指向毒发而亡，拾生只好出城去往隐市寻求药婆白青萝（郜思雯饰）的帮助。药婆青萝有一个灵鼻子，它能闻辨出千种万种的味道，拾生想靠白青萝的灵鼻子“闻香探案”。第一步，他们要从出事的员外府查起……

简介：袁崇焕将军是礼义廉耻的化身，炎黄子孙的楷模。

简介：故事片。北京电影制片厂1989年摄制。　　隧道工程局五处处长于泰刚，在医院 里接到战友们询问其妻薛莹健康状况 的长途电话，此时薛莹已为隧道事业 献出了生命，但于泰刚却向战友们隐 瞒了实情。此事使刚从医学院毕业的 女医生谢韵深受震动。她来到深山老 林，同隧道工人一起工作。工程局接 受了建设大瑶山隧道的艰巨任务，于 泰刚要求青年工人大炎、罗明等不断 提高文化水平，以便尽快掌握进口的 机器设备。退休调回老家的老工人娄 贤贵，闻讯后重返建设工地。工程进 展迅速，隧道稳步推进，总工程师单 希文、工程师颜修雯正和工人们一起 联欢。斜井大量出水的消息突然传来 ，专家会议决定开挖超前平行导坑。 在组织突击队时，娄贤贵坚决请命， 于泰刚任命他为突击队长。工人们站 在深水中艰苦地操作着，坑内不时发 生塌方，大炎被埋牺牲。平行导坑进 度不断被刷新，经过几个月的艰苦奋 战，眼看胜利在望，娄贤贵不幸被轨 道车压伤身亡。工人们化悲痛为力量 ，继续奋战，终于使我国最长的双线 电气化隧道——大瑶山隧道胜利贯通 。欢乐只是一瞬间，等待着建设者的 ，又将是新的隧道工程。他们又将奔 赴新的战场。　　编剧： 杨韬 导演： 杨国星 摄影： 杨文庆 美术： 郑会文、宋振山 作曲：瞿小松 扮演者 剧中人 扮演者 剧中人 方 舒 谢 韵 刘 钊 单希文 高 明 于泰刚 周谅量 颜修雯 臧金生 大 炎 于绍康 娄贤贵

简介：六百年前元朝画家黄公望先生以富春江两岸风貌画下《富春山居图》，为迎接2022年亚运会，富阳正在热火朝天地进行新城建设。在此背景下，《春江水暖》讲述杭州富春江畔，四兄弟分四季轮流照顾中风后失智的母亲，四个家庭面临亲情与生活的考验，借由一年四季的冷暖变化如画卷般徐徐展开。

简介：

A mellow movie about a woman who is tired of the meaningless life with a husband who doesn't even remember her name and a hopeless young man who drives a taxi.

简介：

落魄潦倒的革命者鲍勃（莱昂纳多·迪卡普里奥 饰）终日生活在草木皆兵的偏执状态，他与世隔绝，只和坚韧自立的女儿薇拉（蔡斯·英菲尼迪 饰）相依为命。然而，当鲍勃的宿敌（西恩·潘 饰）在16年后再度现身，女儿也突然失踪，这位曾经的激进分子仓促踏上了寻女之路，父女二人不得不直面他过往行为种下的恶果……

简介：

巴特度过了艰难的一年。先失去了母亲，后又与未婚妻分手，几乎同时失去了生命中两个重要的女人。而自己又患上了严重的精神健康问题。伤心欲绝的他感到前途未卜，于是不得不放弃与前任共享的公寓，搬到他最好的朋友道格的车库里，开始为一家医疗公司撰写有关导管和结肠造口术袋的评论。一天巴特遇到一个在洛杉矶度假的女人 - 维也纳。两人在一起度过一个美好的夜晚后，巴特突然意识到生活并不全是可怕的。女友告诉他，她其实来自于未来，她在2052年为美国国家安全局的一个分支工作，她非法回到美国，只是为了将来能买股票帮助生病的母亲。巴特在某种程度上被感动了，他不顾一切地选择相信她。虽然时间旅行看起来荒唐可笑且难以解释，但爱也是如此。他们所拥有的感觉很特别，所以巴特决定相信自己的直觉，接受这件小小的好事并选择帮助她，屈服于这不合逻辑的爱的概念。慢慢地她故事表面的裂缝慢慢开始浮出水面。...