功夫宗师霍元甲

简介：一直作為米路斯．科曼劇本鐵三角（另一位是帕培錫，也是本片編劇之一）成員的艾雲．巴薩，當然也走低度戲劇路線。同是音樂家的彼德與卡洛老友重逢，生活狀況大不同，你有伴侶我有家庭，然而都有說不出的不明朗，唯有以酒與音樂代替口水。全片推展不問目的，只在剎那間的意圖，行行企企比起科曼更義無反顧，卻有生活淡如流水的詩意和繆思，叫觀眾聯想到二十年後的伊力．盧馬。巴薩鍾愛音樂的程度不下於文字和電影，古典音樂與民間音樂於全片迴轉迴盪，難怪成了奇斯洛夫斯基十大心愛電影之一。　　　　康城影展青年評審團獎，美國全國影評人協會特別獎　　　　這部1966年的珍品，是捷克新浪潮短暫生命中最佳作品之一。成名音樂家到小鎮探訪舊同學，舊同學是個窮音樂教師，有時在喪禮上吹奏樂曲。平凡的素材在巴素手裡，變出風趣復罕見的旋律，一部憂鬱的喜劇，或灰色喜劇。　　　　- Dave Kehr, Chicago Reader　　　　Ivan Passer's (Cutter's Way and Creator) last film to be made in his native Czechoslovakia is about friends – musician Petr and music teacher Karel – reunited when Petr returns to town for a performance. Passer frequently collaborated with Milos Forman and the episodic, low-action aesthetic that was evident in Forman's early work can be seen here. Years of separation have bred apprehension between the two men, and Karel's simmering jealousy makes their meeting all the more awkward. Eventually, the barriers crumble enough for the pair to freely discuss their lives. The film's simple beauty is in the details of the men's reacquainting themselves with each other, discovering each other's regrets and unfulfilled desires. Alive with pathos, humour and insight.　　　　Special Award, National Society of Film Critics Awards　　　　Its simple city mouse-country mouse story involves the meeting of two former schoolmates as they prepare for a small-town concert. Enlivened by Passer's flair for grotesquerie, this unassuming masterpiece maintains a delicate balance between hilarity and despair.　　　　- Elliott Stein, Village Voice　　　　Source HKIFF Czech New Wave 2006

简介：

剧场导演法兰克（皮欧．马麦 饰）在剧场打滚了十五年，这一夜，剧组担心他的剧本太过前卫，于是瞒著他让女主角修改了台词，失控的法兰克一时抓狂，竟自己衝上台代替「女」主角演出，引发现场一团混乱，最后他还以赴汤蹈火之姿，暴跌在观众席上，同时为这场演出以及他的演艺事业划下了ENDING。万念俱灰的法兰克只想过上朝九晚五的生活、重新出发；于是他找了一份看似超完（无）美（聊）的工作──博物馆警卫，任何参观的民众只要在MUSEUM裡饮食、拍照、或是偷摸馆藏作品，都难逃他的法眼…但是没有最疯，只有更疯，没想到这短暂的风平浪静，就在遇上他那SUPER CRAZY的女同事希碧儿（蕾雅．杜嘉 饰）之后，她为法兰克激起的不是涟漪，而是 TSUNAMI！

简介：勇桑（蔡振南 饰）是建国市场的老大，英明神武德高望重的他深受手下小弟的敬重和爱戴，市场里大大小小的事务均由勇桑主持。清枫（孙鹏 饰）是勇桑最信赖的手下，虽然并未挑明，但大家都知道，清枫将在勇桑金盆洗手之后接替他的位置。　　因为杀人罪入狱三年的阿雄（黄鸿升 饰）出狱后回到了勇桑的身边，实际上他并未犯罪，而是替清枫顶罪。勇桑十分看重阿雄的能力，甚至决定将建国市场交给他管理，可是阿雄已心生退意，他不愿再重蹈覆辙，只想做一个干干净净的人，过宁静平安的生活。麦可（王阳明 饰）从国外深造归来，一心想要改变市场里奉行了多年的角头制度，他将第一个改革的目标放在了勇桑的身上。

简介：《向日葵女孩》改编自“向日葵女孩”何平的真实故事，剧本筹划于2014年年初。影片围绕主人公何平从小学到大学的生活经历展开。　　何平是湖南科技大学外国语学院研究生，在母亲智力残疾，父亲瘫痪在床的艰难境况下，带着年幼的弟弟上大学，最多的时候兼职了7份工作。她最喜欢向日葵，想像向日葵一样生活，被大家称为“向日葵女孩”。其优秀事迹得到中央和各级领导的高度重视，受到新华社、中央人民广播电台、中央电视台、光明日报、中国教育报等中央媒体以及湖南日报、湖南卫视、吉林卫视等40余家媒体的广泛关注，在社会各界和高校师生中引起了强烈反响。

简介：

笑阳姊妹是一个乡村教会基层堂点的负责人，带领着十几个信徒。她已经结婚登记了，但她认为她丈夫信得 不好，所以一直没有在教堂举行婚礼，只想等待丈夫受洗后再举行婚礼。整个影片只讲了一天的事情。说的是她分别去几个地方见不同的几个人办事，但在这一天中，唯一做成了的只有为他们教会堂点诗班订做十字架乐杖。

简介：本片根据同名小说改编，讲述一个男孩的性觉醒过程。17岁黑人男孩兰迪是学校唱诗班的领唱，生长在虔诚信教的南方家庭。因为妹妹失踪，整个家已经四分五裂，兰迪还要应付时常不期而至的同性幻想。他跟学校的戏剧社死党决定上演男男版的“罗密欧与朱丽叶”，同时白人男孩马歇尔也碰巧闯入兰迪的生活，对他展开强势追求。兰迪发现自己越来越难适应从青春期到成人的转变，更重要的是，他开始分不清幻想和现实的边界...

简介：

基洙（金炳哲 饰）和钟大（刘亚仁 饰）是情同手足的兄弟，两人从小就失去了父母，视彼此为唯一的港湾和依靠。基洙性格老实稳重，他勤勤恳恳地干着辛苦的工作，只为了能够攒下钱来维系他和弟弟的生活。尽管现实如此苍白，但基洙心中的梦想却从未褪色，他知道，只要继续努力下去，有朝一日，他定能够在马尔代夫开一场只属于他一个人的个人演奏会。钟大的个性和基洙恰恰相反，整日无所事事，游手好闲。钟大特别羡慕电视里那些沐浴在枪林弹雨中的英雄们，幻想着哪天得到一把真枪，能够干出一番伟业。让钟大没有想到的是，自己的幻想有一天居然变成了现实，他真的得到了一把如假包换的枪，然而，与此同时，他和基洙亦被卷入了黑帮的争斗之中，被危险所包围。

简介：秦腔电影　　秦王政征集囚徒、奴隶为自己修建陵墓。以黑剑、张辉为首的三千囚徒拒绝应征，秦王下令将他们全部腰斩。随着“刀下留人”的喊声，尉缭闯入法场。老将军王翦带他去见秦王。身穿重孝的尉缭在秦王面前直陈治国方略。最后，秦王采纳了尉缭提出的“效商鞅、行新法；富农桑、奖耕战，纳贤士、赦奴隶”的主张。封尉缭为国尉，并忍痛割爱，将美女魏姬送到尉缭府中。魏姬原是魏国安寿将军的未婚妻，后被嫪毐(音lào ǎi)献美时敬献秦王。尉缭考虑到安寿的智谋、讲义气，是秦征服魏的重要人物，所以，他准备将魏姬送回与安寿团聚。秦王改制变法，激起了内外保守势力的强烈反抗。秦王的胞弟成矫，视新法为儿戏，无故暴杀奴隶。他在庄襄太后的授意下对黑剑进行迫害。秦王得知将黑剑救下。秦王让成矫领兵驻守屯留。不久，六国兵犯屯留，黑剑请求成矫发兵救援王翦，成矫却颁发手令反叛秦王。黑剑执法如山，他杀成矫、囚太后，面见秦王。秦王偏听太后之言，举剑将黑剑刺死。秦王得知错杀黑剑后追悔莫及。面对六国合纵抗秦，秦王御驾亲征。诡计多端的刘代骗取了公孙乾曾救秦王父子实情的帛绢。杀人灭口，带上篡改了的《灭秦策》及嫪毐首级，来到秦王行宫，取信秦王，并恶毒攻击尉缭和魏国奸细。秦王识破了刘代的阴谋。安寿带来了魏愿与秦结为友好联盟的回简，秦王命张辉统兵包抄六国军，亲自统兵东山函关，拉开了十年统一战争的序幕

简介：A psychological drama centered around world-famous turn-of-the-century photographer, Eadweard Muybridge who photographed nude and deformed subjects, became the godfather of cinema, murdered his wife's lover, and was the last American to receive the justifiable homicide verdict.

简介：

年轻有为的里奥•维德勒斯（Gael García Bernal 饰）是美国一家游戏网站的创始人，妻子艾伦（Michelle Williams 饰）则是某家医院的外科医生。夫妻俩终日忙碌，奔波不停，只得...

简介：

五十年前，冰雪茫茫的青藏高原上，一队年轻人将木桩定入冰雪。开始了一个把铁路修上世界屋脊的梦想。但梦刚刚开始便夭折在恶劣的自然条件面前，一位年轻的勘测队员永远留在了雪山之中……二十年后，他的遗子于明远随着铁路大军再次向青藏铁路发起冲击。他们用鲜血和生命将铁路铺到了昆仑山下，却不得不再次停了下来。昆仑山无情地吞没了于明远的战友，也埋葬了他的初萌之恋……时光又飞逝了二十四年，正是壮年的于明远率领着千军万马再次走上青藏高原，开始了青藏铁路的最后决战。横在他们面前的是难以忍受的高原反应，恶劣的气候和世界级难关冻土，惊险的滚地雷、山崩和地震时时威胁着他们。高原病专家初冉冉的到来，加强了人身的保障，高压氧仓等先进设备和科技手段使效率大大提高。而更使于明远惊讶的是初冉冉与当年牺牲的初恋战友长得一模一样……影片通过中国三代铁路人前仆后继得悲壮历程，展示了世界最难的青藏...

简介：Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...　　　　Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.　　　　Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.　　　　Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.　　　　Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.