安妮+

简介：

在多年来严厉打击毒品的面前，狡猾的贩毒分子企图采用更为隐蔽的方式走私毒品，我缉毒精英们将计就计，展开了更周密而全面的缉毒行动。

简介：售货员方家宝和个体户田大龙偶然拾到一个红色化妆盒，里面装着两万元现款和一张回扣条，另外还有一打物资局长唐文轩的名片。二人不为金钱所动，决定找寻失主。这天，唐文轩的小舅子胡晓任经理的“大新公司”正在举行开业周年庆典仪式。为造声势特请来了方方面面领导和记者。突然，方家宝带着化妆盒闯入会场，径直来到唐文轩的面前。众目睽睽之下，唐文轩只索回了名片而拒接其它物件，并反称方家宝是小偷。拾金不昧的方家宝不仅被打得鼻青脸肿，还因“无故旷工”被单位列为“编余人员”，妻子一气之下把他赶出了家门。田大龙路见不平，拔刀相助，采取了“以毒攻毒”方针，从唐局长家中将化妆盒又偷了回来，顺手“捎”走了他家的电视机和录像机。田大龙因此触犯了刑法，并连累方家宝一起受到通缉。事已至此，二人决定到派出所自首。谁知，唐文轩为掩盖被盗真相，已经撤回了诉讼状。于是，自首又成了无事生非，方家宝被视为精神病。做贼心虚的唐局长和胡经理千方百计要夺回那个红盒子和那张至关紧要的纸条，于是，方家宝和田大龙受到了一次次的围追堵截。二人好不容易脱离险境，带着化妆盒来到了检察官耿志海的家。正在潜心调查案情的耿志海为了不打草惊蛇，故意将他们拘留。方家宝和田大龙不明就里，奋力出逃，历尽艰辛搞到了作恶者的犯罪证据。与此同时，唐局长和胡经理亦双双落入了法网。

简介：一名大胆的记者怀疑一位备受尊敬的领导者存在不道德行为。改编自真实的历史性庭审案件。

简介：影片讲述了一天之中阴气最重的时辰凌晨两点半，正是人类阳气最弱的时刻，为阴阳交汇的时刻，此时，是医院病人死亡率最高的时间点，也最容易在此时撞鬼。凌晨两点半，古墓中万鬼爆出,五灵血咒开启，常有孤魂野鬼到处游荡。　　凌晨两点半夏雨萌在夜路中捡回一个不会说话的“孩子”，但带回家的孩子很快就失踪了，夏雨萌家里开始连连出现各种诡异恐怖的怪事：家具莫名自动移动，冰箱里的食品无故消失，家里的电器不用接电却能正常工作，房间自动变换方向……　　为了破解家里的怪事，深夜，一个神秘的老婆婆把夏雨萌和其男朋友吴宁带到一个阴森的废旧工厂，没想到这对男女就此深陷于万劫不复的恐怖循环中，他们到底身处阴间还是阳间？捡回的“孩子”是人是鬼？他们不得不联手奋起抵抗……

简介：故事以岩手县的松尾村为背景，讲述东京统一剧团的统筹河野秀子(倍赏千惠子)到访当地，希望游说青年会合作制作一出名为「故乡」的音乐剧。身为会长的齐藤高志(寺尾聪)虽然大力支持，但由于经费、场地等问题，公演受到极大阻力。高志和秀子最后排除万难，终于得偿所愿，为千多名观众送上最真挚动人的一夜。为拍摄此片，山田及其制作班底花了一年多时间，实地考察统一剧团的地方公演。

简介：繁华的街道，穿梭的人群，只有在夜晚才能慢下来。我叫做灿，是一家酒吧的老板，这里也是我的家。在这里我遇到了形形色色的人，听到了许许多多的故事，很多人问我为什么这么沉默，因为我喜欢聆听。每个人都有属于自己的故事，就像水一样，里面有我最珍贵的回忆，如果能做到的话，什么酒都愿意为您调。喝的不是味道，而是喜、怒、忧、思、悲、恐、惊。

简介：《我的康乃馨》是一部讲述从小失去母亲的女孩郑娇娇的心理成长过程的电影。通过娇娇渴望母爱的故事以及一支带代表特定花语的康乃馨，告诉观众，应多给孩子一些真诚的拥抱，因为他们需要被爱，尽力给孩子一个完整的家，因为他们弱小的身躯需要扶助。当遇到无法抗拒的灾难时应坦然告诉孩子，因为他们也需要考验自己的意志；谎言再美好都掩盖不了真相，就算善意的欺骗也是在否定孩子的承受力；心理健康与生理健康同等重要，正确引导孩子，教会他们在逆境中如何顽强地往前走。

简介：为了寻找创作灵感，悬疑小说作家许婷（魏星 饰）搬进了网友陈凯（夏望 饰）家中的地下室，据说这间地下室里经常有灵异事件发生。陈凯对许婷一往情深，但他发现许婷喜欢的其实是网络上那个虚拟的人物——马脸男。陈凯试图让许婷回归现实，但地下室里却发生一连串诡异的事件，显示“马脸男”真的存在。终于有一天，陈凯从地下室里挖出了一具早已腐败的男尸，而这个死者正是一切怪事的根源。

简介：

在明尼苏达州北部的“边界水域”中，六个老朋友之间的周末露营之旅在神秘的环境下死亡后变得悲惨起来，随着他们企图在本集团内揭露杀手，引发进一步的动荡

简介：张忠谏为自己的私利效忠朝廷，情谊成为利用工具，而方威却重情，最终却被兄弟情所伤被张忠谏利用。李安邦看似朝廷反对势力，内心深处隐藏着一抹人性的柔软，冒生命危险收留了朝廷遗子小满，小满却全然不知情。徐霞作为事外人，眼睁睁看着救命恩人一家被屠，血溅客栈，却无能为力的哀凉，故事落幕，一把火将客栈烧毁，一切恩怨消失匿迹...

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.

简介：

由于离婚和自身觉悟的提高，罗斯琳塔伯跟一群“不相称”的人做了朋友，包括成熟的牛仔盖、悲伤的飞行员、机械师吉都以及弄得头破血流、满身是伤的骑术表演者珀斯。他们的背景各不相同，又生活在离婚率全球最高的里诺镇，他们的婚姻故事曲折离奇。在他们的过把瘾就死的生活方式影响下，罗斯琳体验到了自由、愉快和激情，但是在罗斯琳和他们的思想、道德观念在现实中相冲撞时，她必须冒着失去朋友，甚至是丢失唯一真爱的危险去挽救无辜的生灵……