他夏天住在楼下

简介：克恩郡巡警乔狄肯，小名狄克（丹泽尔·华盛顿 饰），被派往洛杉矶进行本该是趟简单明快的证据收集任务。取而代之的是，他被卷入一场缉捕正肆虐该市的连环杀手之行动。领导缉捕的是洛杉矶郡警长吉姆贝克斯特（拉米·马雷克 饰），对狄克的警察直觉大为惊艳，因而私自寻求他的协助。　　但在两 人追踪主要嫌疑人艾伯特史帕玛（杰瑞德·莱托 饰）时，贝克斯特浑然不觉该调查勾起了狄克对过去不愉快的回忆，随之出土的黑暗秘密除了威胁案件调查外，可能牵连更剧。

简介：一群离别原生家庭的小孩子，经莫姑娘（谈善言 饰）安排下，遇上天美姨姨（郑秀文 饰）和彬叔叔（陆骏光 饰）这个短暂的幸福中途站，天美姨姨亦因此经历十三年来从聚合到分离；遇上每一个孩子，他们却又再要分散，感受到喜悦也要经历分离的痛。

简介：外表温柔安静的苏韵锦（刘亦菲 饰）在高中同学程铮（吴亦凡 饰）的深情追求下慢慢爱上了对方，可无奈相爱容易相处难，自小生活环境的差异以及性格的迥异开始成为两人之间的问题，矛盾的不断发现最终还是让感情出现了裂痕最后走到了分手境地。　　几年后，苏韵锦成为了一个事业有成的职场女强人，但平静的生活因程铮的再次出现而泛起了涟漪，两人剪不断理还乱的感情促使他们又纠缠到了一起，并且这时才知道彼此在这几年中都没有放下，想爱但又怕过去重演……

简介：威尔（本·福斯特 Ben Foster 饰）和女儿汤姆（托马辛·麦肯齐 Thomasin McKenzie 饰）过着相依为命的日子。父女两人在深山老林里安营扎寨，一直都离群索居，不和现代社会有所接触。虽然丛林里的生存条件十分的恶劣，但威尔觉得这才是他们应该有的生活。　　某日，政府的工作人员找到了父女两人，强制将他们带回了文明世界之中，虽然在这里吃得饱、穿得暖，但威尔还是觉得自己仿佛在坐牢一般。终于，他决定带着汤姆再度回到他的野生王国之中，可此时的汤姆显然更加愿意待在无论做什么事情都非常便利的城市里，父女两人之间产生了巨大的分歧。在自己的意愿和女儿的渴望之间，威尔会如何选择呢？

简介：曾凤仙从小就幻想可以变成好友沉晓旭-一个出生在富裕家庭、外表出奇美丽，举止优雅的闺秀。国中两人不再同班后，凤仙投入大量的时间在阅读上，也从文字创作中获得自信，然而却发现晓旭抄袭自己的作品，凤仙无法原谅晓旭，两人埋下心结，因而疏远。高中时，凤仙的妈妈因乳癌过世，她也意识到自己将是高危险群，就在不安的疑虑中，多年在大陆工作的父亲退休后回到台湾，因车祸住院，迫使凤仙面对她一直不愿面对的事。凤仙知道必须完成自己的毕业创作，因为那是凤仙想对世界说的话。

简介：他（坂尾创路 饰）是一个唯唯诺诺在餐馆打工的侍应生，她（裴斗娜 饰）是一个只值5000多日元过时的充气人偶。在孤独漫长的夜晚，她慰藉着他空虚的心灵与肉体。对他来说，她也许只是寄托情感的替代品。不知曾几何时，她有了自己的思想和知觉，每天在他上班之后，她便穿上衣服独自外出，用好奇的大眼睛注视着这个忙碌的大都市。最终，她在一家录影带出租店停留，仿佛银幕上交错变换的虚幻情节恰恰映射着她那匪夷所思的生命，其心中涌起阵阵波动。她渐渐喜欢上店里的男孩纯一，在这个人人生而空虚的世界上，她的爱情故事不算故事……　　本片根据日本漫画家业田良家的同名作品改编。

简介：80’后女孩沈星辰（刘冬 饰）自小家庭不幸，母亲与人私奔，父亲因此车祸死亡，她从小寄居舅舅家。80’后男孩明远（黄明 饰）小时候曾和沈星辰家是邻居，明远父母私下从事走私，明远父亲扛下一切入狱，得知明远母亲跟了别人后在狱中自杀，给明远的内心带来重创。数年后，升至高中的沈星辰和明远被分在同一个班级，儿时的友谊发生了微妙的转变。然而，各自家庭的不幸让两人背负着巨大的心灵创伤，渴望被爱却不懂得如何爱人，关于“爱”与“生命”的思考，也在两人的分分合合中延续。　　本片改编自网络小说《天长地久》，曾获东京国际电影节大奖提名。导演李芳芳16岁时曾写出青春小说《十七岁不哭》，同名电视剧在当年引起全国中学生热烈追捧。

简介：Vova and his best friend Kisa make ends meet by working for the local thug in Vladivostock, Russia until one assignment forces them to question their own morality and puts their friendship to the ultimate test.

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：丈夫长居德国，护士长普拉巴被困在有名无实的包办婚姻中，无法响应男医生对她的体贴温柔。年轻护士阿努爱着穆斯林男孩，他们无法正大光明交往，却大胆偷尝禁果。两人的共同好友因寡妇身份等不到居住正义，被迫离开城市。三名羸弱女子，在孟买巨大的喧嚣里无法留下足迹，但她们依然坚毅强韧，在父权社会的日常里，用自己的方式处理问题。

简介：罗帅在一次相亲大会上意外的到钱小娥家做了上门女婿，英俊的罗小帅很受岳父岳母的喜爱。便给了些钱！ 烂醉归家时却发现了钱又多交付给钱小娥的秘密藏宝图。罗小帅便想尽一切办法终得到藏宝图，召集宝强二人便踏上了寻宝之路。 最终，钱小娥也与罗小帅碰面，原来当年罗小帅和钱小娥是幼年时期的最好的玩伴，当年还在大树下私定终身，后来钱小娥搬家走了，钱小娥罗小帅时隔二十年再次相见感慨万千最后相拥，大家都决定从今天起要好好开始新的生活！

简介：《一个人的皮影戏》讲述了生活在平静的小山村里的皮影戏传人马千里，在摆弄了一辈子皮影之后，本来已经忘却了皮影的功力，只作为闲来无事自娱自乐的玩意。可忽然来了一群以大学教授为首的人来考察非物质文化遗产，并认为自己的皮影可以申报，法国人也来给他拍专题片，再加上又可以给村里带来好处，还会有人来学这早已无人问津的皮影手艺，从没想过自己这点玩意也是文化，还有人请自己去大学讲课，称自己是老师、是艺术家。这时的马千里已经不再是那个和蔼可亲的老头，他真的把自己当成了不起的艺术家。随着影片情节的推进，深藏在马千里人性中的名利心被唤醒。经历了由乡村到城市一连串的磕磕绊绊，一个又一个幻影的破灭，钱没挣到，名没出了，反而受到了许多冷落和羞辱，马千里又开始怀疑皮影究竟有没有价值？为皮影这么活着有没有意义？导演借此探究当今这样的文化背景下，如何让传统文化继续生存下去。