主演：詹姆斯·麦卡沃伊,罗宾·怀特,汤姆·威尔金森,埃文·蕾切尔·伍德,
导演：罗伯特·雷德福,
简介：故事开始于林肯总统遇刺身亡之后，有八人因为谋杀总统而遭到了逮捕，42岁的玛丽（罗宾·怀特RobinWright饰）是其中唯一的女性，玛丽经营着一间家庭旅馆，而刺杀总统的全部计划都是在这间旅馆的某个房间里诞生的。艾肯（詹姆斯·麦卡沃伊JamesMcAvoy饰）是一位初出茅庐年轻有为的律师，他奉命为玛丽辩护，虽然艾肯知道就算有他的辩护，玛丽还是难逃死刑的惩罚，但还是决定走一遍流程。然而，在和玛丽沟通交流后，艾肯渐渐开始怀疑，玛丽真的是无辜的，她只不过是被威胁和被利用的人质。没有人相信玛丽的清白，她的命完完整整的被捏在艾肯的手中。
主演：内详
导演：居伊·德波
简介：Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.Our camera has captured for you a few aspects of a provisional microsociety.The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."?Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"? can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.Voice 2: Years, like a single instant prolonged to this point, come to an end.Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.Voice 1: Really hard to drink more.Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.To really describe this era it would no doubt be necessary to show many other things. But what would be the point?Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
主演：松田优作,藤谷美和子,小林薰,笠智众
导演：森田芳光
简介：20世纪初的日本，毕业于东京帝国大学的长井代助（松田优作 饰）家境优渥，全然不曾为金钱烦恼。他终日周游玩乐，过着悠闲自在的高等无业游民的生活。与之相对，和长井相交多年的好友平冈常次郎（小林薰 饰）生活拮据，妻子三千代（藤谷美和子 饰）孕期患上心脏病，未出生的孩子更不幸夭折。承受巨大压力的平冈破罐破摔，流连烟花场所。生计日益紧迫的同时，夫妻情分名存实亡。三千代是长井、平冈大学时代亡友菅沼（风间杜夫 饰）的妹妹，此去经年，始终未婚的长井依然对三千代持有深深的爱慕，他同情对方的境遇，但碍于道德的束缚只能将炽烈的情感深锁心底。深爱无缘，百千心结何处搁置……
主演：迈克尔·恩奎斯特,弗里达·霍尔格伦,海伦·修荷姆,,伦纳特·杰凯尔,英格拉·奥尔森,尼克拉斯·福尔克,皮尔·姆贝格,伊娃·卢夫,安德烈·舍贝里,米卡尔·拉姆,芭布萝·寇勒贝,阿克塞拉·阿克塞尔,拉塞·彼得森,乌拉-布里特·诺曼-奥尔森,米尔卡·克里森,克里斯蒂娜·托维斯
导演：凯·波拉克
简介：丹尼尔（迈克尔·恩奎斯特 Michael Nyqvist 饰）是一名指挥家，专业技能出色的他在全世界范围内享有着极高的声誉，随着时间的流逝，他的身体渐渐的开始无法支撑他对音乐的热情，一次突然来袭的心脏病迫使他永远的告别了舞台。为了养病，丹尼尔回到了久违的家乡，在那里，他成为了教堂唱诗班的指挥。
主演：市原隼人,忍成修吾,伊藤步,大泽隆夫,市川实和子,稻森泉,苍井优,松田一沙,胜地凉,马场乔子,伊藤友树,郭智博,笠原秀幸,冈村麻纯,杉本哲太,田中要次,樋口真嗣,细山田隆人
导演：岩井俊二
简介：莲见雄一（市原隼人 饰）与母亲、继父、弟弟生活在一个幽静的小城里。他跟同班同学星野修介（忍成修吾 饰）同在剑道部，两人成为好朋友。星野本来是一个品学兼优的学生，却遭到了同学的嫉妒。当暑假时一群同学自冲绳回来以后，星野变了一个人似的。接着星野开始以欺负同学为乐，而且手段残忍，雄一也不能幸免。雄一性格孤僻，喜欢歌手莉莉周，在自己建立的莉莉周论坛上他认识了一个叫“青猫”的人。雄一与青猫都过着不容易的生活，两人互相鼓励，并约定在莉莉周的演唱会上见面，“青猫”的出现令雄一十分惊讶。
主演：雷鸣,王滨雁,方青卓,宫让,谭元元,丁惟敏
导演：张景隆
简介：剧作家苏雨写的剧本《奋斗者》上演后，受到社会舆论的批评。他决定到生活中去调查研究，以证是非。在某法院，院长介绍他认识了审判员解稼芬，并让他以人民陪审员身份参与调解一起正在审理的离婚案。要求离婚者是中年雕塑家莫磊。莫磊的妻子叫池波，她在病床上含泪向苏雨诉说了他们家庭的变化：她和莫磊是雕塑系的同学，彼此相爱，曾发誓要以屈原的《九歌》为题材，雕塑出永留人间的艺术群像。她爱莫磊，更爱他的艺术才华，她承担起全部家务劳动，支持丈夫专心致志地进行创作。哪知莫磊成名后另寻新欢，家庭悲剧给池波带来无限的痛苦，但苏雨看到，他面前这位瘦弱的女性虽承受着不幸，却带着孩子坚强地挣扎着、奋斗着，并一心雕塑少年保护神--少司命，以实现年轻时和莫磊一起许下的诺言。苏雨还了解到第三者叫宁莉莉，是莫磊的学生和热情助手。她明知莫磊有妻子孩子，但并不认为自己的行为有什么错误，因为她对爱情有...
主演：内详
导演：李娴娟
简介：电影名:《兵演兵》导演：李娴娟(总) 王程帆 李希强 周刚 郭谨良主演：地区：中国大陆分类：戏曲片上映：1991年1月1日纪录了中国人民解放军1990年全军业余文艺汇演的部分优秀节目，其中有南京军区的<我们都是好八连的战士>，总参、二炮、兰州军区代表队合演的唢呐三重奏《朝阳沟》选段，总后的女声独唱《唐古拉的风》，成都军区的舞蹈<军工路>，北京军区齐海霞的女声独唱《兵之歌》。沈阳军区郭其富、李智敏的对口相声《接雷锋》。海军代表队的歌伴舞《山里来的水兵》，南京军区的表演唱《咱们的马连长》，总参王红涛的女声演唱《南腔北调》，广州军区的相声《文明值勤》，二炮的表演唱《我跟祖国一二一》，总后的表演唱<我为战士包水饺>，二炮的《电视管理员》，总参的女声二重唱<搭桥>，北京军区的男声二重唱<军营好兄弟>，总参的独舞《工地...本台记者报道：昨天（10.22）上午，省会“征兵宣传日”活动在人民广场举行。1000多名适龄青年及家长和各界群众前来咨询今年的征兵政策和条件。省军区政委张连仁少将在活动仪式上讲话。他说，依法服兵役是《宪法》赋予每位公民的光荣义务，广大适龄青年要积极响应祖国召唤，踊跃报名应征。广大家长要以国家利益为重，舍小家、顾大家，积极支持子女参军入伍、报效祖国。市委书记、市长、市征兵工作领导小组组长吴显国表示，征兵工作是加强国防和军队建设的基础工程，必须站在加速推进社会主义现代化的历史进程，构建社会主义和谐社会，实现中华民族伟大复兴的高度，全力以赴地做好征兵工作。吴显国指出，各级政府要加强组织领导，兵役机关要充分发挥职能作用，有关部门要积极配合，为征兵工作提供强有力的组织保证。要采取多种形式，迅速掀起征兵宣传的高潮，大力营造“国防义务、人人有责”、“一人参军、全家光荣”的良好氛围，激励广大适龄青年的参军报国热情。活动之后，军地文艺工作者同台表演了舞蹈《兵演兵》等精彩的文艺节目，省、市军地领导向适龄青年发放了征兵宣传资料。
主演：约瑟夫·费因斯,黛安·克鲁格,丹尼斯·海斯伯特,Patrick,Lyster
导演：比利·奥古斯特
简介：故事发生在1968年的南非，严格残酷的种族隔离制度让在那里生活着的两千五百万黑人面临着悲惨的命运。为了维护种族的权利，一部分黑人们奋起反抗，但等待着他们的结局不是驱逐出境就是被关押在罗宾岛监狱之中。詹姆斯（约瑟夫·费因斯 Joseph Fiennes 饰）就出生在这样恶劣的局势之中，幸运的是，他是一位不折不扣的白人。从小大人们就向詹姆斯灌输着“黑人低人一等”的荒谬概念，成年之后，已然完全被洗脑的詹姆斯成为了罗宾岛监狱的一名看守，而他所看管的囚犯正是南非的民主斗士曼德拉（丹尼斯·海斯伯特 Dennis Haysbert 饰）。随着时间的推移，对黑人们越来越了解的詹姆斯开始对自己的所作所为产生了质疑——难道白人就真的可以这样理所当然的囚禁和侮辱自己的同胞吗？
主演：杨净如,韩朔,李肖宁,李明慧
导演：麻又台
简介：苏兰和家兵是一对名副其实的\"笨贼\"，除了整天想出一些稀奇古怪的盗窃计划之外，从来没有干成过一件事。木讷的家兵深爱着苏兰，对她的话惟命是从，可苏兰却一直不接受家兵。\r一天，两人打算到一所古旧的宅子里偷东西，却眼睁睁地看着宅子的主人----一对夫妻发生意外死在跟前，更可怕的是他们发现这对夫妻竟然是江湖上大名鼎鼎的杀手夫妇，男的绰号\"狐耳\"，女的绰号\"猫尾\"。苏兰和家兵担心被人误会，决定溜之大吉，谁料刚走到门口，就迎面碰上一位前来拜访的客人。客人叫边靖，是城郊\"宝升煤矿\"的老板，他误把苏兰和家兵当成杀手夫妇，以二十万的价格请他们去刺杀张佑权县长，两人只好假装答应下来。\r送走边靖，苏兰和家兵决定赶紧逃走。然而第二天，两人却被人劫持了，他们被带到一座豪华的府邸，屋子里坐着的正是县长张佑权，而他的目的则是请两人去刺杀\"宝升煤矿\"老板边靖！原来张县长也把苏兰和家兵误认作是\"猫尾\"、\"狐耳\"夫妇。\r苏兰和家兵彻底傻眼了，他们其实连一只鸡都不敢杀，跑又跑不掉，两方各怀鬼胎，一场暗杀完全成了面对面的决斗。苏兰和家兵该怎样解决这个棘手的问题？张佑权县长和边靖老板的矛盾究竟根源于哪？
主演：柯焱曦,熊婧文,秦海
导演：禹岚馨
简介：一所重点高中专门安置关系户的班级招来了两所中学的一群不良少男少女，他们在各自头目的带领下，嚣张跋扈，彼此PK，为争班级老大成天混战，以捉弄老师为乐。突然有一天，这群不良少男少女破天荒地决定联手，宣称要拿下期末考试年级前十和文明班级流动奖杯。这一切的变化都是因为他们收到了一封未来的自己寄来的信。信中除了历数他们在毕业班里将要发生的事件，还希望他们善待他们的班主任，一位正直善良的数学老师。信中的预言一一言中，在老师的因势利导下，不良少男少女真的走上了迈向未来的正确发展之路。故事在学生和老师之间冲突和情感的跌宕起伏中突显影片的主题：积极向上其实植根在每个人的心里，真诚和坚持是唤醒成长的一把钥匙。
主演：李清娥,洪宗玄,朴庆惠,???,???
导演：郑用柱
简介：韩国电影《再一次春天》今日发布主预告片（中字），主演：李清娥、洪宗玄，一觉醒来却发现时间回到了昨天，我的时间开始一天天倒流了！因为一场事故，恩祖（李清娥饰）失去了人生唯一的幸福——女儿，陷入绝望的她对自己的人生做出了重大的决定，可当她再次睁开眼睛时时间却回到了昨天。开始时光倒流的恩祖一点点改变着自己不幸的昨天，可不停倒流的时间也让自己心生不安。就在这一天，她遇到了手握这场时间之旅关键的男人浩民（洪宗玄饰）…她是否能够让时间倒转，迎来崭新的明天？4月17日（今天）上映~转至：hanjutvn/dianying/11356.html
主演：蕾雅·赛杜,黛安·克鲁格,维吉妮·拉朵嫣,诺埃米·洛夫斯基,
导演：伯努瓦·雅克,
简介：故事发生在1798年的法国凡尔赛宫，革命的热潮席卷了整个国家，居住在宫中的王公贵族们成为了革命者们攻击的对象。为了保命，很多人决定逃跑，可是皇后玛丽（黛安·克鲁格DianeKruger饰）却无法放下她高贵的尊严。长久以来，波利内公爵夫人（维吉妮·拉朵嫣VirginieLedoyen饰）和玛丽皇后保持了暧昧而又亲密的关系，而这一次，保全波利内公爵夫人的性命则成为了玛丽皇后首当其冲需要解决的问题。西朵妮（蕾雅·赛杜LéaSeydoux饰）只是一介小小侍女，但她对玛丽皇后的忠臣和爱慕是任何人都无法相比的，即使到了这个紧要关头，她依然希望能够守在玛丽皇后的身边，为她卖命。于是，西朵妮顺理成章的成为了玛丽皇后手中的棋子，而她并不知道，自己将要面临的是怎样的命运。