访问连环杀手

简介：清道光年间，广州府捕快陈铁志追查私吞赈灾款受阻。利用武大人巡视之际假意行刺，借此秘查白银流向，就在真相即将大白于天下之时，陈铁志却险遭灭口，经过殊死搏斗案犯终于落网，陈铁志辞官退隐，创办武馆惠及桑梓。

简介：2013年8月14日上午，由北京美洋洋国际传媒有限公司和北京中视美亚国际广告有限公司联合摄制的儿童励志电影《一路芬芳》在日照市举行了隆重的开机仪式。主演侯耀华、徐德亮、钉铛，出品人汪洋、樊亚丽等主创齐聚发布会现场。电影《一路芬芳》剧组由樊浩导演率领的一支艺术高超，技艺精湛,作风过硬优良团队制作。我们深信，在全体演职人员齐心协力下，一定会拍出一部集“思想性、教育性、观赏性”于一体的精品力作，给儿童及全国人民奉献一部感人的，具有文化教育意义的影片。

简介：《第八页》三部曲中的第二部，Johnny Worricker逃离军情五处的工作躲避到避税的特克斯和凯科斯岛屿。但偶遇的中央情报局特工迫使他进了一家莫名其妙的美国商人的公司，那些美国人自称到岛上是为了参加讨论全球金融危机的会议……

简介：故事发生在1830年的欧洲，帕格尼尼（大卫·葛瑞特 David Garrett 饰）是一位风流成性但极富才华的小提琴演奏家，此时，帕格尼尼正处在职业的巅峰期，在经纪人乌尔巴尼（杰瑞德·哈里斯 Jared Harris 饰）的协助之下，帕格尼尼用自己的音乐征服了整个欧洲。　　然而，个性古板而又保守的伦敦市民们却并不买帕格尼尼的账，于是，乌尔巴尼开始筹备起了帕格尼尼在伦敦的首演计划，为这个计划提供协助的，还有来自英国的经纪人约翰（克里斯蒂安·麦凯 Christian McKay 饰）和他的情妇伊丽莎白（维罗尼卡·费瑞尔 Veronica Ferres 饰）。一场意外让帕格尼尼不得不寄宿在约翰家中，在这里，帕格尼尼的“老毛病”发作了。

简介：在挚友遭到残忍谋杀后，十六岁的丽姿被指控为唯 一的嫌疑犯，戴上电子脚镣居家监控。两年后的法 庭上，好斗的检察官和辩护律师轮番攻防，甚至公 开探挖起丽姿的性生活。冷酷无情的质询、不断揭 露的秘密，原本全心捍卫女儿无罪的父母也逐渐动 摇，他们过往所了解的，真的是女儿的全部吗

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：凯伦（玛伦·艾格特饰）和马库斯（安德烈亚斯·多赫勒饰）与他们的孩子们一起住在凯伦父母的房子里。凯伦的妹妹朱勒（布里塔·哈梅尔斯泰因饰）带着她的家人来参加马库斯的生日派对。当凯伦以她那专横的态度令所有人震惊时，朱勒则完全相反。渐渐地，大家开始联合起来对抗凯伦，直到一切最终升级为一场激烈的风暴。这场风暴摧毁了旧有的关系，却也为新生创造了空间。

简介：当米娜得知她的丈夫Babak是被错判而被处决的时候，她的生活发生了翻天覆地的变化。当局为这个错误道歉，并提供了经济赔偿的前景。米娜为了自己和聋哑女儿的利益，开始默默与这个充斥着犬儒主义的制度进行斗争。就在她的钱快花完的时候，一个叫Reza的陌生人敲开了她的门，声称是来还欠Babak的债的。米娜一开始很警惕，但最终还是让Reza进入她的生活，她却不知道，一个秘密把他们联系在一起。Behtash Sanaeeha和Maryam Moghaddam巧妙地将内疚与赎罪这一伊朗电影的经典题材呈现在电影中，成为一个小而精的姿态和空间。导演Maryam Moghaddam出色地扮演了夹在孤独和争取自决之间的米娜的角色。

简介：居住在同一个山谷里的一对老年兄弟K和W,因为未说明的原因四十年不曾说过一句话,全靠一条狗传递纸条来交流沟通. 整个山谷并没有多少人居住,但就在全山谷举行的养羊比赛中,K的大公羊以微弱优势获得胜利,W十分不服气,不经意间,他发现K的羊得了瘟疫,于是前去举报,导致包括K和W 家在内的整个山谷的羊都不得不面临被人道主义毁灭的危险.没有了羊,K完全不知道怎么度过漫长的冬季,而受到牵连的W在地窖里悄悄地藏了几只,但这个秘密并没有保守太久......

简介：煖煖是個在推特追蹤數高達20K的網黃，在網站「Only Fans」開放觀眾付費訂閱觀看自己攝製的素人色情片。一天，煖煖收到大學生阿鹹的合作來信，希望能體驗跟煖煖拍片。兩人相約在一間商務旅館玩煖煖最拿手的控射主題。第一次拍片的阿鹹，卻在滿足煖煖拍攝的技術需求，與沉浸其中之間陷入兩難

简介：某县体委有个姓高的矮个子篮球教练，此人爱球又爱才，为这，在文革中他可没少吃苦头。但他本性难移，就是在四人帮最猖獗的1974年，他也没有忘记要为篮球队寻找一名高个子中锋。　　这年夏天，他在县城的集市上发现了一个身高两米的巨人，如获至宝，穷追不舍，硬是把这个青年巨人王小山带到自己家中。他有一个勤劳、贤惠的妻子和三个挨肩的儿子。受他的影响，儿子们个个都是体育爱好者，在家里也是折跟头打把式地没个消停。妻子尽其所能热情款待王小山，小伙子一个又一个地也不知吃了几个玉米面窝窝。在一旁笑眯眯地看着他的高教练真不知道有多高兴，一个劲儿唠叨着，这回他可要把小山培养成一个好中锋，还要向国家队推荐呢！　　高教练带着小山四处奔走，他拜访了于处长、杜主任、黄工宣，省里和地区的体委都去了。无奈，当时极左路线统治，没人重视人材。这么理想的一个中锋苗子，硬是没有单位要。王小山看到高教练为他日夜辛苦，粮食不够吃了，还卖了手表，他于心不忍，就不辞而别回家去了。高教练发现后又把他找回来，并严厉地批评他不热爱体育事业。在高教练的热情培养下，小山投入了刻苦的训练。　　一偶然的机会，高教练结识了一位曾经是贺龙同志部下的老军人。在这位同志的热情支持和帮助下，王小山终于被国家篮球队接收。高教练还向那位老军人要了一大堆国家队用旧了篮球。然后，他就像完成了一项重大使命一样心满意足地踏上了归程

简介：藥物成癮的凡妮莎與男友仰賴社福漏洞苟且偷生，白天推著破舊除草機逐戶敲門、騷擾乞錢，夜晚徘徊荒郊曠野，蟄居廢棄拖車。日復一日，兩人不是在醫院無賴討藥，就是在街上失神遊蕩。行屍走肉般的生活逐漸讓凡妮莎感到不安，發現懷孕後，她力圖振作，卻發現自己無法割捨早已放棄人生的萎靡男友。在感情與理性間搖擺不定的她，終將墮回萬劫不復的愛情煉獄，抑或能堅定擁抱新生的勇氣？　　加拿大離島出身的新銳導演艾許莉麥坎錫，將家鄉沉迷藥癮、頹廢過活的失業青年群象，改編成現實羅曼史，描繪在絕望與無奈的漩渦中載浮載沉的邊緣悲歌。堅持草根視角，啟用在地演員，以大量貼身特寫手法，展現陰性影像書寫的特殊風格。