主演：郭富城,杨采妮,吴澋滔,林熙蕾,秦海璐,许茹芸,徐天佑
导演：谭家明
简介：阿宝（吴景滔饰）梦中坐在父亲的自行车后坐，一手拿着风车，一手紧紧地抱着，然而美梦破碎。落魄父亲周长胜（郭富城饰）有着烂赌恶习，母亲阿莲（杨采妮饰）为此无法忍受，决定出走后被抓回。为了挽救夫妻间已经破裂的感情，父亲一厢情愿地安排全家去坐邮轮度假，母亲趁机离家不归。穷困潦倒之余，周长胜又遭到了高利贷追债，连番失意的他想抛下阿宝，但还没离开就被追债的人打断腿。父子二人踏上了逃亡之路，伤残的父亲没有赚钱能力，只能逼迫阿宝去借钱甚至偷东西。有一次，阿宝偷窃失手，怯懦的父亲无力挽救……。这对父子的再次相见将会如何？
主演：金珠,유나,이준현,图谋
导演：임현태
简介：男主因和女友关系不和，导致性方面也难以达到满足，只能跟好友整日厮混在一起，直到遇到了好友的妈妈，才发现世界上竟然还有这种美艳而成熟的女人，虽然男主心生邪念，但是碍于身份与关系，只能将感情深埋心底，然而好友的妈妈似乎也很中意男主，开始不断的打扮自己，并尝试着各种诱惑男主上钩....
主演：石挥,丹尼,崔超明,俞仲英
导演：黄佐临
简介：抗日战争时期，一个青年女子由于追求物质享受而堕入敌特组织，干了一系列特务勾当。最后，当她在临难不屈的共产党员的精神感召下，有所觉悟时，却被敌人杀死。影片根据茅盾同名小说改编。在40年代后期，影片编导曾计划把作家茅盾这一创作于40年代初并在当时产生广泛影响的作品搬上银幕，因政治环境不允许未能实现。上海解放后，文华影业公司将其列为重点剧目投入摄制。影片对女主人公赵惠明的处理，创作者曾经过认真考虑。赵惠明是特务，又是失足者。她是个思想性格复杂、内心冲突激烈的人物。影片于1950年冬上映，受到观众欢迎。不久报刊有文章提出影片对赵惠明“过于同情”的批评，认为与当时正在开展的镇压反革命运动方针政策不相吻合。影片即不予放映。
主演：斯特凡妮娅·罗卡,Timothy,Peach,Marie,Bäumer,Cécile,Bois
导演：保罗·塔维亚尼,维托里奥·塔维亚尼
简介：玛丝洛娃（史蒂芬妮雅·若卡 Stefania Rocca 饰）是一个天真善良而又单纯的农家女，一次偶然中，她邂逅了名为聂赫留朵夫（Timothy Peach 饰）的富家公子，并且深深地爱上了他。可是，聂赫留朵夫并不是真的爱玛丝洛娃，他诱奸了她，并且残忍的将其抛弃。绝望和痛苦之中，走投无路的玛丝洛娃沦为了妓女，身心都受到了严重伤害的她开始依靠酒精和毒品来逃避现实麻醉自己。最终，玛丝洛娃触犯了法律，被关进了监狱。在法庭上，玛丝洛娃在一次和坐在陪审席上的聂赫留朵夫重逢了，良心折磨着聂赫留朵夫，他决定拯救玛丝洛娃并且同她结婚，可是，为了保全爱人的名誉，玛丝洛娃拒绝了他。
主演：约翰·加菲尔德,菲莉丝·德丝达,帕德里夏·妮尔
导演：迈克尔·柯蒂兹
简介：Fishing boat captain Harry Morgan charters his boat. Due to strained finances, he is none too careful as to whom he does business with. Real trouble erupts when Harry hires out his boat to transport four men who turn out to be criminals on the lam from a racetrack heist.
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：Ninita,Bristow,Edwin,Carewe,Virginia,Mann,Elinor,O.,Peterson,Jean,Thomas
导演：Frank,Beal
简介：A dramatization of the methods in which young women are abducted or otherwise procured for prostitution.
主演：何塞·费勒,莎莎·嘉宝
导演：约翰·休斯顿
简介：故事发生在1890年的巴黎，亨利（何塞·费勒 José Ferrer 饰）是一名画家，他常常现身于“红磨坊”之中，当他人沉浸在灯红酒绿纸醉金迷之中时，亨利只是埋头专心作画。一次偶然中，亨利结识了名为玛丽（科莱特·玛钱德 Colette Marchand 饰）的女子，在帮助她脱离险境之后，亨利被美丽开朗的玛丽迷住了。随着时间的推移，亨利发现了玛丽的反复无常和不可信任，一颗炙热的心在反复的伤害之中逐渐冷却。终于，亨利的绘画事业有了起色，他为“红磨坊”所绘的广告画受到了外界的关注和认可。之后，亨利又遇见了善良勤劳的老板娘，尽管对老板娘心怀好感，但感情饱受伤害的亨利却选择了将感情埋藏在心底，直到老板娘成为了别人的新娘。
主演：Oliver,Ackland,Alex,Russell,Adelaide,Clemens
导演：Ben,C.,Lucas
简介：单一色调的八个游泳队员在同样单一色调的学校泳池破浪。一对同母异父兄弟，大哥Zack是学校老大，他人脉广阔，在学校深受女生爱戴，不时发施号令，要弟弟Darren代做化学家课；弟弟是典型电脑迷，时刻沉迷网络游戏及破解程式密码，弟弟不是一头乱发、佩带黑色大框架眼镜，以及衣衫不整以现代贬义称为的“宅男”，他是以兄长为校队游泳团队首领，成绩欠佳的游泳队员。爱接触阳光池水及精通电脑的男孩可谓文武兼备，他比不上哥哥的狡黠，男人不坏，女人不爱，弟弟的木讷朴实不是女同学喜欢的类型，他遇见了倾心对象。Xandrie的幼滑金丝、纯真笑容打动了Darren，他在哥哥搞的狂热派对找不到金发蓝衣美人，发放短讯联系，短句是只有年青网络族群才懂的文字，他在房间的监视器遍寻不获，遇到了意图借着酒精毒品弄得迷迷糊糊在电脑男房间胡天胡帝的男女，Darren挂心不知所在的Xandrie恐怕被男人下了药带到隐匿地方施暴，他害怕Xandrie遭遇同一手段，他赶走了他们，是潜意识对抗利用酒及违禁粉末壮大胆子，麻醉常理，做出一发不可收拾劣行的校友。单一色调的泳池竞赛选手不是八个，余下四个是校园欺凌的要角。
主演：弗兰科·内罗,何塞·博达洛,洛雷达娜·努斯齐亚克,安赫尔·阿尔瓦雷斯,吉诺·佩尔尼切,Simón,Arriaga,Giovanni,Ivan,Scratuglia,Remo,De,Angelis,Rafael,Albaicín,José,Canalejas,Eduardo,Fajardo
导演：赛尔乔·科尔布奇
简介：荒凉的旷野，一群暴虐的劫匪正在鞭挞一位美丽的姑娘玛丽亚（萝蕾丹娜·卡波莱特 Loredana Cappelletti饰）。幸得迪亚戈（弗兰科·尼罗 Franco Nero饰）的解救。他神秘而冷峻，拖着一副棺材漫步在泥泞的荒野上。迪亚戈带着玛丽亚来到荒凉的小镇，人们对他的到来充满好奇，更对这副棺材里隐藏的秘密而惶惶不安。本片作为意大利西部片的经典暴力之作，曾在世界多国遭到禁映。2012年，鬼才导演昆汀·塔伦蒂诺拍摄的《被解放的姜戈》，向此片致敬。
主演：汉娜·宾克,杰尼斯·纽沃纳,马文·林克,安柏·本加德,科奈莉亚·弗洛波伊斯,斯洛·派克内尔,于尔根·福格尔,妮娜·克龙耶格尔
导演：卡蒂娅·冯·加尼尔
简介：曾在2014年上海国际电影节展映的德国儿童片《骏马奥斯温》以小女孩米卡和神驹奥斯温之间的真挚情感打动了不少观众。本片是其续集，讲述米卡成大了，她和奥斯温的重聚却面临马场破产的危机，他们能战胜新的挑战并破除难关吗？女主角汉娜·宾坷是童星出身，13岁出演《骏马奥斯温》，这次随着她年龄长到16岁，导演卡嘉·冯·加纳也特意为她添加了情窦初开的少男少女恋爱戏码，加上德国明媚亮眼的风景，以轻松明快的节奏演绎出人与动物和谐共处的乐章。
主演：拉杰·肯南,阿米达普·巴强,RameshDeo,AsitSen,LalitaPawar,杜尔卡·柯泰,DaraSingh,JohnnyWalker
导演：西里斯科什·慕克吉
简介：Anand (Rajesh Khanna饰)，一个癌症末期的病人，却活得问心无愧，不像其他抑郁和绝望病人，他享受着余下生命的每一刻。他的医生Bhaskar (Amitabh Bachchan饰)，被人们亲热地称呼为Moshai先生，他的精神拥有着令人惊讶的力量，以自己的方式让周围的人了解生命的意义。可是，Bhaskar却对Anand的病无能为力…《Anand》成功塑造了一个勇敢面对死亡的人，这是一部令人感动的电影。该片在1972年的 Filmfare Awards颁奖典礼上获得六个奖项，包括最佳男主角（Rajesh Khanna）、最佳男配角（Amitabh Bachchan）、最佳对白（Sampooran Singh Gulzar）、最佳编剧（Hrishikesh Mukherjee）、最佳影片（Hrishikesh Mukherjee，N.C. Sippy）、最佳剧情（Hrishikesh Mukherjee）。
主演：仲代达矢,夏目雅子,中村晃子,佳那晃子,夏木真理,新藤惠美,内田良平,绵引胜彦,小泽荣太郎,诚直也,仙道敦子,内田稔,平田昭彦,役所广司,丹波哲郎,益冈彻,樱井稔,福本清三,成田三树夫,梅宫辰夫,山本圭,夏八木勋,岩下志麻,樱金造,谷村昌彦
导演：五社英雄
简介：政五郎（仲代达矢 饰）是臭名昭著的流氓，他中年得一女取名花子，对其格外的宠爱。政五郎专横跋扈的作风令他在外树立了许多仇家，随着花子一天天长大，危险也无时不刻的在靠近着她，为了保护花子，政五郎愿意付出一切代价。松惠（夏目雅子 饰）是政五郎的养女，花子的姐姐，因为天生貌美过人而被政五郎选中，本来和松惠一起来到政五郎家中的还有她的弟弟，然而弟弟逃跑了，留下松惠独自一人支撑着。政五郎想将花子嫁给一位有位青年，然而青年却爱上了松惠，导致政五郎家中不睦。政五郎宠爱情妇，冷落妻子，他的妻子日日酗酒，并最终染上重病而亡。让政五郎没有想到的是，花子竟然投奔了自己的仇家，心灰意冷的他自首被投入大牢，没过多久就郁郁寡欢而死。
主演：小向美奈子MinakoKomukai本宫泰风小松崎真理工藤俊作斋藤步琴乃水谷圭火野正平
导演：成田裕介
简介：刚刚从意大利回来的静子（小向美奈子饰），才貌双全，在大提琴演奏界崭露头角，并嫁给了关西财团会长海东义一郎，过着幸福的生活。殊不知，魔爪正悄然伸向了她。远山集团的总裁远山隆义（本宫秦风 饰），使出卑鄙的手段，打算将静子占为己有。他将海东逼至破产，让其用静子做抵押。就这样，静子成了远山的妻子。静子进入远山家后，与管家伊泽（火野正平饰）、花道茶道老师折原（水谷惠 饰），以及仆人美沙江（琴乃饰）等人，开始了共同生活。但她并不知自己已经落入圈套，远山计划将静子进行不堪入目的指导，将她变成
主演：让·雷诺,梅拉尼·罗兰,加德·艾尔马莱,拉法埃尔·阿贡吉,雨果勒佛德茲,Joseph,Weismann,Mathieu,Di,Concetto,Romain,Di,Concetto,Oliver,Cywie,西尔维·泰斯蒂,安妮·波诺什,德尼·梅诺谢,Roland,Copé,让-米歇尔·诺里,Rebecca,Marder,阿黛尔·艾克萨勒霍布洛斯,卡特琳娜·阿莱格雷,蒂埃里·弗雷蒙,让-皮耶·罗利特,伊莎贝尔·杰利纳斯,阿尔梅尔,卡罗琳·雷诺,Marc,Rioufol,斯万·阿劳德,格雷戈里·加迪诺尔,加
导演：罗丝·博斯
简介：1942年，11岁的小约瑟夫（约瑟夫·魏斯曼 Joseph Weismann 饰）正是天真烂漫的年纪。盛夏六月的一个清晨，小约瑟夫穿着一件胸口缝着黄色小星星的衣服，正要兴致冲冲地去上学。旧货商邻居鼓励他好好上课，而面包师傅却开他玩笑。他的犹太小伙伴和他的家人在蒙马特高地学习和生活。即使这是块被占领的法国区域，他们仍然得到了暂时的庇护。然而这短暂的幸福和宁静，很快就崩塌了。1942年7月16日早上，在埃菲尔铁塔附近的冬季自行车赛车场里，一万三千名受害者被凶残的虏获在一起，准备运往波纳·拉·罗兰德集中营。影片根据真实事件改编而成。
主演：Bruto,Castellani,Ettore,Mazzanti,Gastone,Monaldi,Fernanda,Negri,Pouget,Orlando,Ricci
导演：Enrico,Guazzoni
简介：拉美西斯大帝旗下的一个士兵，把卡默斯的爹娘赶出了他们的家园。卡默斯决定对这个不公平的事件展开抗争。於是他出发前往埃及的首都底比斯，想到土地司去调查这件事情。然而进入土地司之前，必须先经历过一番锻鍊；卡默斯下定决心要克服一切的阻碍。因缘际会之下，他遇到了一位名唤诺菲的女孩，疯狂地陷入热恋，并且获得了她的支持，准备一起携手打这场官司。然而诺菲与卡默斯来自两个完全不同的常阶层。不过，他们还是决定心手相连，一起面对所有的挑战，即便最後必须去面见法老王本人也不害怕......拉美西斯大帝时代，在底比斯附近的一座小村庄，住著一对农民和他们的儿子卡默斯。有一天，他们家来了一个身材高大的士兵，自称是法老王大军的退伍军人。这士兵夺走了他们的田产和房屋，还声称这是法老王的命令。於是卡默斯决定到底比斯去讨回公道。抗争的过程中，他认识了一个同年龄的女孩──美丽的诺菲，两人坠入了情网。这一对小情侣，真的能替卡默斯的爹娘讨回公道吗？
主演：Natalie,Morse,Gene,Bervoets,Toyah,Willcox
导演：Chris,Newby
简介：In fourteenth-century England, peasant girl Christine Carpenter is so attracted to a statue of the Virgin Mary that the local priest (who lusts after her) suggests she be walled up in the church as an anchoress, a holy woman with responsibility for blessing the villagers. But when the priest has Christine's mother tried as a witch, she digs herself out of her cell, a crime for which the punishment is death.
主演：张静初,林熙越,陈炜
导演：肖锋
简介：已离婚三年的南方、菲美正分别沉浸在要再婚的幸福中，但他们的独生女儿娜娜却突患绝症，唯一的治疗办法是吸取与娜娜相同血缘的新生儿的脐血进行脐血干细胞移植，这意味着南方和菲美必须再生一个孩子以拯救娜娜的生命，然而他们都已有了自己热恋中的情人，此时此刻是为了爱情背叛道义，还是不要爱情拯救孩子？四个大人于是为了救不救孩子、怎么救孩子陷入了艰难而痛苦的两难抉择！
主演：阿米尔·汗,缇努·阿南德,阿辛,吉雅·罕,PradeepRawat,RiyazKhan
导演：A.R.目虏古多斯
简介：电信大亨杰辛哈尼亚（阿米尔•汗 Aamir Khan 饰）为人低调，某日却见报纸爆料他向一个叫卡尔帕谢蒂（阿辛 Asin 饰）的小广告模特大胆示爱，气愤之余杰辛哈尼亚去向这个造谣生事的女孩儿问责，谁料他途中看见一个美丽善良的女孩机智地帮助残疾儿童，而这 个女孩就是卡尔帕谢蒂，卡尔帕谢蒂并不认识杰辛哈尼亚，一场误会令别人以为她就是大亨的女友。杰辛哈尼亚隐瞒身份接近卡尔帕谢蒂，可后者以为他不过是求广告机会的无名小卒。杰辛哈尼亚结识卡尔帕谢蒂后开始了扮演双重身份的生活，两人在相处中感情逐渐加深。卡尔帕谢蒂从黑帮大佬手中救出了25名少女，惹来杀身之祸。杰辛哈尼亚遭连累被击中头部之后只能保留十五分钟的记忆，为了爱人，他艰难的凭借有限的记忆复仇……