碰海人

简介：萨瓦纳（惠特尼·休斯顿 Whitney Houston 饰）是一个信奉真爱至上的女人，总是希望能够找到一个完美的男人。可是，人哪有完美的呢？因此，萨瓦纳的每一段感情都有始无终。博纳丁（安吉拉·贝塞特 Angela Bassett 饰）很早就和丈夫携手步入了婚姻的殿堂，过上了梦寐以求的相夫教子的生活，然而，这生活却并没有她想象中的那么美好，她的丈夫不仅欺骗和背叛了她，还残忍的离她而去。　　罗宾（莱拉·罗琼 Lela Rochon 饰）性格热情奔放桀骜不驯，选择自由自在不负责任的生活方式，可是，这样的选择虽然给她带来了短暂的欢愉，却也带来了更多的麻烦。葛洛莉亚（洛雷塔·迪瓦恩 Loretta Devine 饰）独自抚养儿子长大成人，生活十分的不易，如今，儿子已经成年了，即将远行。在这个节骨眼上，新搬来的英俊邻居吸引了葛洛莉亚的注意。

简介：《虎·破》全面地向大家揭秘了电影《八佰》的幕后拍摄故bbb。本片采取电影中四行仓库保卫战四昼夜的时间模式，将内容分成了“四天”，从制作、光影、演员、影片主旨四个方面，讲述导演管虎、主创和演员们是如何突破重重困难，完成了这样一部国产商业巨制。

简介：主要讲述了30年代初，日本在中国大陆的商贸活动想在河南一带开拓，此时不断有日资集拢而来，日本特务组织也经常流窜郑州秘密调查。日本人需要和当地商会合作，借它之名与日本东洋拓殖会社开办公司，为之后商埠开办垄断做准备，没想到一场你争我夺的家族间兄弟争斗由此展开。

简介：故事发生在车水马龙的繁华大都市阿姆斯特丹，运河之中接连浮现的尸体让市民们陷入了恐慌的情绪之中，种种蛛丝马迹显示，这是一起由同一人所犯下的连环杀人案。案件的负责人是艾里克警探（休伯·史塔普 Huub Stapel 饰），心中的正义感让他决心定要找出隐藏在幕后的凶手。　　在朋友约翰（Wim Zomer 饰）的协助下，艾里克将怀疑的目标放在了当地的潜水员圈子之中，他也因此结识了美丽善良的劳拉（莫妮卡·梵·德·冯 Monique van de Ven 饰）。功夫不负有心人，随着调查的深入，嫌疑人的身影终于浮出了水面，然而，在艾里克逐渐接近真相的同时，危险也慢慢地来到了他的身后。

简介：江湖卖艺人阿祖带着一只小猴相依为命，一心想拜师学武。退隐江湖多年的赵七爷有一傻女，无人看管，阿祖只好找一个外乡女子飘红来顶替，并和村里武馆教头关二世的儿子阿仁成为朋友。一群“山贼”到村里行凶，关二世和赵七爷联手抵抗，原来赵七爷家中藏有珠宝，乃是抢劫得来之物，不料却被飘红偷走，关二世与赵七爷也遭杀害。阿祖、阿仁二人四处逃亡，寻找名师学武，一路上曲折不断，终于找到了幕后真正的元凶……

简介：《女人就是女人》的故事從班長趙凌風（黃家恆飾）開始，凌風學業成績理想並且開始跟同班同學麗淇（麥詠楠飾）交往。可是，凌風卻對自己的男兒身並不自在，並且渴望成為女性，對於性別認同感到困擾，並在一次到麗淇家的過程碰到她的媽媽宋紫洳（李蕙敏飾）。四十歲的紫洳跟丈夫志鴻（鄧汝超飾）結婚十多年，跟丈夫與前妻所生的女兒關係良好。可是，志鴻卻無意發現了紫洳是跨性別人士，無法接受現實，並令家庭瀕臨破裂。

简介：eee一个伟大父亲，一个捡到的小孩，亲生与亲养的小孩，中间发生的破折故事，值得人们反思

简介：原作出自柊葵的同名漫画，曾由吉卜力改编动画电影，本片在原作基础上增加了后续原创剧情；　　该电影虽为原创性的故事，忠实地再现了原作的世界观，讲述了原作里的故事过去10年之后，变成大人的“雫”和“圣司”。经过10年的岁月，梦想成为小说家的雫（清野菜名 饰）变成了出版社的儿童小说编辑，放弃了梦想的她和在海外继续追逐梦想的圣司（松坂桃李 饰）开始渐行渐远，雫开始努力找回当年两人互相鼓励、一起向前的初心。

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：故事发生在21世纪初，因为网络聊天的兴起，一个天主教学校的少女发现自己的性意识萌动，一方面要她要努力抑制自己的欲望怕被上帝惩罚，另一方面有些东西是控制不住的。

简介：区里决定举办警地联合消防比赛，消防中队挑选十二名战士，和当地六家化工厂的十二名消防站工作人员结队，获胜者将获得区里颁发的金斧头奖章，中队里石鹏和专勤班班长郭二宝有幸参加。按照周队长明确的任务和要求，郭二宝带着同组的石鹏来到新华化工厂，与新华化工厂挑选出来的六名业务消防员见面。　　新华化工厂的业余消防员中，张弓是化工厂张董事长的孙子。有着“阔少”般尊宠的张弓刚刚失恋。失恋时，在武警医院做护士的女方雯雯明确告诉张弓，她已经有了新男朋友，是一个叫文森的优秀消防员。谁能让雯雯放着有钱有车的人不嫁，偏找一个要啥没啥的消防员，张弓想起来就窝火，但张弓拗不过爷爷，只好去厂消防站报到。　　正是对消防员“横刀夺爱”的嫉恨，加上从小养尊处优，张弓对参加消防比赛嗤之以鼻。非但如此，张弓还常常借故不参加训练，想方设法影响其他队员正常训练。对于张弓的表现，脾气火暴的石鹏早已是忍无可忍，如果不是郭二宝经验丰富顾全大局，石鹏的拳头早就打在张弓那张什么都不屑一顾的脸上。　　从比赛大局出发，郭二宝和石鹏设法从张弓的“跟班”胖子那里得知张弓抵制训练的原因，对症下药，接受张弓的挑战。张弓在自己提出的“一对一”篮球比赛中耍赖获得胜利，从而赢得小组比赛人员的安排权。警地联合消防比赛正式开始，第一轮体能比赛，张弓派胖子参加，尽管胖子竭尽全力，但还是以倒数第一的成绩，拖了全组的后腿。　　第二轮消防专业技能比赛，张弓不顾石鹏和郭二宝的劝告，坚持自己参加，结果违规无效。小组的努力因为张弓的刚愎自用付之东流，张弓失去了队友的信任，更遭到爷爷的批评。现实面前，张弓不知悔改，但发生在新华化工厂的一起有毒气体泄露事件，让张弓看到了血的教训。　　张弓开始有所醒悟，回到消防队融入集体参加训练。此时，又一起有毒气体泄露事件在新华化工厂发生。石鹏随消防队冲进出事点，和先期进入场地的张弓并肩作战，营救中毒昏迷员工，化解着火爆炸的危机。经历实战锻炼的张弓已不再纨绔尊宠，从业余逐渐走向专业的张弓，重新找到通往伊甸园的大门。　　精彩视点：　　系列数字电影《烈火男儿》是我国第一部以武警消防队员战斗生活为题材的影片。《烈火男儿》系列影片以一个普通消防中队为缩影，全方位展现了当代消防救火英雄英勇善战、无私奉献的感人故事，让观众有机会近距离走进消防员的世界、了解消防员的生活、感受消防员的伟大。　　《“业余”消防员》编撰一个警地联合消防比赛的故事，通过重重设置发生在主人公“石鹏”和“张弓”之间的矛盾，推进情节，彰现主题，完美地实现了电影作为艺术作品娱乐大众和启迪大众的结合。

简介：号称日本三大鬼才导演之一的筱原哲雄监督改编自永远充满话题性的村上龙同名畅销书的限制级电影。用黑色幽默和过激的暴力写展开了一段少年集团与中年女子组的快意仇杀。由活跃在非主流电影圈中的松田龍平,池内博之,安藤政信等出演,樋口可南子,岸本加世子等老牌女星撑台共同缔造出一部怀旧又前卫的冲击性作品.　　东京都调布市。在这个城市生活的6个少年,平素混沌生活的他们，定期性地举行的聚会,唱着昭和时期的流行歌曲以宣泄心中的彷徨。某日，睡眠不足的衫冈晃荡在城市的角落与一个疾走的中年女性碰撞,于是一个齿轮的失常带来了命运的改变...