伊
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导演：
/大林宣彦
剧情：
1996年6月2日，狂风暴雨之夜，位于东京荒川区的某高级公寓，一名男子坠楼身亡。公寓管理员佐野利明（岸部一德 饰）和住户佐藤义男（大和田伸也 饰）作为第一发现人向警方报警，根据监控录像和另一名住户葛西美枝子（久本雅美 饰）的证言，2025室的小丝家与该事件有着重大干系。谁知令人匪夷所思的状况出现，2025室另外横亘着三具尸体，他们既不是小丝一家的成员，彼此也没有任何血缘关系。长达三个月毫无头绪的调查，镜头前来自社会各阶层、与该事件有着千丝万缕关系的人们讲述各自所知道的真相，无数的碎片渐渐拼成了这起离奇杀人事件的全貌…… 本片根据推理作家宫部美幸荣获直木赏的同名经典原著改编，多达107位知名演员出境，最初由WOWOW制作成电视电影在本台播放，数月后在剧场内实现公映。
导演：
/伊斯梅尔·菲鲁基
剧情：
雷达（尼古拉斯·卡萨雷 Nicolas Cazalé 饰）的父亲（Mohamed Majd 饰）是一位非常虔诚的穆斯林，当他觉得自己大限将到命不久矣之时，决定完成身为一名穆斯林的毕生梦想——前往圣地麦加朝圣。本来父亲的打算是让雷达的哥哥开车载他去麦加，可不巧的是，他的大儿子因为一场交通意外而被吊销了驾驶执照无法上路行驶。无奈之下，父亲只得找到小儿子雷达，命令他成为司机。 只有20岁的雷达即将面临学校的会考，与此同时，他还有一个正在热恋的如花似玉的女朋友。面对父亲强势的命令，雷达虽然心里百般的不情愿，却也只能顺从。一路上，父子两人之间爆发了无数次战争。
导演：
/格斯·范·桑特
剧情：
美国一所普通高中普通的一日，逃课未果的John（John Robinson），在父亲的逼迫下回到校园；喜欢摄影的Elias（Elias McConnell），在校园内外拍过一些人物和风景后，来到学校暗房冲洗照片；新交了女朋友的Jordan，正被与他有过关系的女孩纷纷议论着；被人冷落情绪异常低落的Michelle，来到学校图书馆帮助做工…… 校园高墙之外，时常受人欺负的“患难兄弟”Eric（Eric Deulen）和Alex（Alex Frost）正在家里午睡，他们对纳粹形象和暴力游戏非常迷恋，曾在互联网上订购了枪支。午睡过后，两人进行一番简单的策划，身穿美军野战装、手持冲锋枪走进校园，开始大开杀戒。
导演：
/布拉德利·比克尔,格温妮丝·霍德-佩顿
剧情：
本剧集为《美国怪谈》（American Horror Story）的第二季。 这一季的故事发生在20世纪60年代新英格兰地区的Briarcliff疗养院。故事由生活在现代的新婚夫妇Leo（亚当·莱文 Adam Levine 饰）和Teresa（珍娜·迪万 Jenna Dewan 饰）疗养院的旧址探险拍照引发。当年住在这里的只有三类人：医生护士、牧师修女、精神病罪犯。这所疗养院由Jude修女（杰西卡·兰格 Jessica Lange 饰）和高级神职教士Timothy O’Hara （约瑟夫·费因斯 Joseph Fiennes 饰）共同管理。演精神病医生Thredson（扎克瑞·昆图 Zachary Quinto 饰）拥有他的超前思维，但是经常与Jude修女的管理方式产生矛盾。Arden医生（詹姆斯·克伦威尔 James Cromwell 饰）看起来很温和，但绝非好人。这群人都不像表面看起来那般，而鬼魅的疗养院中也隐藏着可怕而神秘的事物......
导演：
/陈木胜
剧情：
自负能干的“保护要员组”警员李文健（郑伊健 饰）因性格问题与女友Brenda（林嘉欣 饰）的感情亮起红灯。因为一起棘手案件，他与正在监狱服役的原警方心理组的催眠师黎尚正（黎明 饰）打上交道。尽管知晓黎尚正厉害的李文健表现得异常谨慎，却仍被黎尚正神不知鬼不觉的催眠，助其盗 走了要保护的南非宝钻。 在寻回宝钻的过程中，李文健发现黎尚正盗钻实属无奈，他其实是一个正直、善良、忍辱负重的真男儿，决意协助他来共同对抗拿其妻子（徐静蕾 饰）和好友一双儿女的性命进行威胁的黑帮大枭欧阳锐（吴镇宇 饰），并在此过程中回归了与Brenda的感情。
导演：
/沃纳·施罗德
剧情：
Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
导演：
/弗拉基米尔·切博塔廖夫,根纳季·卡赞斯基
主演：
剧情：
萨列瓦托尔（弗拉基米尔·科列涅夫 Vladimir Korenev 饰）是一位医术非常了得的医生，他进行了一项非常大胆的实验，将鲨鱼的腮移植到了一位印第安男孩的身上，就这样，男孩获得了能够在水下自由呼吸的特异功能。邪恶贪婪的船主佐利达（米哈伊尔·科扎科夫 Mikhail Kozakov 饰）抓住了男孩，令他成为了自己的奴隶，逼迫他为自己前往海底开采珍珠。久而久之，受不了剥削的男孩逃跑了，躲到了萨列瓦托尔家中。 同样身为佐利达顾工的巴里塔扎尔（安娜丝塔西娅·维汀斯卡娅 Anastasiya Vertinskaya 饰）震惊的发现男孩竟然就是自己失散多年的孩子，于是她一纸诉状告到了法院，希望男孩能够重新回到自己的身边。
导演：
/道格拉斯·塞克
剧情：
罗拉（拉娜·特纳 Lana Turner 饰）和苏西（桑德拉·狄 Sandra Dee 饰）是一对相依为命的母女。在工作中，罗拉是一位女强人，总是将她的大部分时间都投入到繁忙的职务中，生活里自然而然少了很多对于女儿的关注，久而久之，母女之间的隔阂越来越深。这感情的裂痕在她们都爱上了同一个男人之后，最终导致了悲剧。 安妮（朱安妮塔·摩尔 Juanita Moore 饰）是一名黑人女子，而她的女儿莎拉（苏珊·柯娜 Susan Kohner 饰）则是混血，莎拉一直以母亲的肤色为耻，这不断的伤害着安妮的感情。然而，母性的本能驱使着安妮一次又一次的原谅的莎拉，并且依然如故的爱着她。
导演：
/阿尔弗雷德·希区柯克
剧情：
帕拉丁夫人（阿莉达·瓦莉 Alida Valli 饰）被控告杀害了自己的丈夫，她找来了名叫安东尼（格利高里·派克 Gregory Peck 饰）的知名律师为自己辩护。随着交往的深入，安东尼发现自己竟然渐渐地爱上了美艳的帕拉丁夫人，然而安东尼已经娶了单纯善良的妻子盖伊（安·托德 Ann Todd 饰），每每想到妻子的脸庞，安东尼的心里就感到格外内疚。 然而，对于帕拉丁夫人的迷恋战胜了安东尼的内疚感，一次偶然中，安东尼发现帕拉丁夫人身旁的仆人安德鲁（路易斯·乔丹 Louis Jourdan 饰）最有嫌疑，尽管并没有安德鲁就是凶手的确凿证据，但嫁祸于安德鲁的确是能够让帕拉丁夫人脱罪的最好方式。
导演：
/吉尔·罗伯森,珍妮·帕顿
剧情：
故事讲述Laura Simmonds和她的巴塞罗那领事同事兼朋友Alba Ortiz，为保护那些在加泰罗尼亚地区陷入困境的英国国民而战斗。Laura和Alba担任的角色混合了律师、顾问和警察，她们的外交技巧在解决各种困境中发挥到了极致。 剧集开场，一名年轻的英国人莫名身亡，他生前曾在巴塞罗那臭名昭著的码头附近当酒吧招待。尽管西班牙警方和英国外交部都认为这只是起悲惨的意外事故，但Laura支持这名男孩悲愤的父亲Colin，他坚信儿子死的那晚发生了更可怕的事情。 随着新证据的出现和一场谋杀案调查的展开，Laura和Alba发现酒吧男招待的死亡、有组织犯罪和英国安全部门之间存在联系。Laura坚决要曝光英国和西班牙两国不遗余力埋藏的秘密，而她对于正义的追求将她置于真正的危险之中。
导演：
/David Grossman
剧情：
主妇们又都回来了。在第三季中，Andrew会回到Bree身边，而且是以一种搞笑且匪夷所思的方式。bree和orson是一对相似的人，他们都有强迫的毛病，都喜欢事情按某种定式进行，在第三季开始不久bree就会和orsan结婚，但是orsan究竟是一个怎样的人呢？bree嫁给他是福是祸呢，答案都将渐渐揭晓！ 相当一段时间内Mike会处于昏迷状态之中。susan坚持守在mike身边，她在医院里遇见了一个男人，他的妻子也昏迷了就住在mike病房的隔壁，所以这两个昏迷病患的家属就很容易的熟悉了起来，而且逐渐发展出一段新感情。Mike不会昏迷很长时间。在S3最初几集就会清醒。而Susan同时也发现了自Mike醒后。Edie每天都会到医院来探望他。 Edie在第3季将迎来她年轻、性感、但状况百出的侄子。Austin将和她住在一起，并会开始和julie谈恋爱~！~看这对冤家对头怎么处理孩子的事情~！~ lynette在公司的场景会大大减少，更多的会出现她在家里的故事，她如何应付一个新女儿的出现。她的新女儿是一个谜一般的人物，随着剧情的深入，这个你会觉得这个人物越来越有趣。Lynette会和Nora有一番较量。并且会和Julie有一段情。 小梅肚子里的孩子已经8个月了。她和Gabrielle的角色互换了，她在床上养着，Gabrielle伺候她~！~与此同时，Gabrielle和Carlos仍然住在一起但彼此隔阂越来越深。与carlos离婚使Gabrielle痛苦，难以抉择，因为他们就要有一个共同的孩子了。Gabrielle把一个名叫Phil Lopez带回家以试图让Carlos吃醋。 在11月，众多主角在超级市场中将被当作人质劫持。有人会受伤，也有一个被谋杀。Orson在剧中将会有一段相当长的独白来讲述他曾经是怎么意外导致一名病人致死。
导演：
/拉里·肖,David Grossman,阿兰尼·珊福德
剧情：
清晨的一声枪响，打破紫藤社区长期以来的安宁。Mary Alice Young（Brenda Strong 饰）在家中自杀身亡。故事以她叙述的口吻开始，死后的Mary开始环顾四周关心自己邻居的生活：Susan（泰瑞·海切尔 Teri Hatcher 饰）是一个儿童文学作家，对男人毫无抗拒能力，丈夫因为出轨而被Susan提出离婚，有一个正值青春期的15岁女儿Julie。Lynette（菲丽西提·霍夫曼 Felicity Huffman 饰）是个标准的女强人，为了谁成为照顾家中四个幼儿的人而和丈夫约法三章时起冲突。Bree（玛西亚·克劳斯 Marcia Cross 饰）则是个完美主妇，她对自己的一言一行都要求甚高，却总是忽略了丈夫以及儿女对爱的需要，她很优雅，却冷冰冰。而性感的Gabrielle（艾娃·朗格利亚 Eva Longoria 饰）则有着富有又懂情趣的丈夫Calos，但总是禁受不住诱惑而偷情和重视物质享受的她也有着自己不为人知的过往。 Mary的死让这群主妇们开始反省自己日常的生活，并且相约要互相倾诉心事。但她们渐渐发现Mary的死背后埋藏着一个惊天秘密，而新来的邻居Mike则似乎与这件事有关……
导演：
/居伊·德波
主演：
/内详
剧情：
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.
导演：
/西蒙·柯蒂斯
剧情：
刚刚踏入社会的英国青年科林·克拉克（埃迪·雷德梅恩 Eddie Redmayne 饰）不顾家庭反对，将满腔热情投入自己热爱的电影事业之中，希望能闯出一番天地。勤奋的他得到的第一个跟组机会，竟是担任他的偶像劳伦斯·奥利弗（肯尼思·布拉纳 Kenneth Branagh 饰）导演并主演的新片《游龙戏凤》剧组的第三助理导演。这部电影邀请了当时红遍全球的美国影星玛丽莲·梦露（米歇尔·威廉姆斯 Michelle Williams 饰）主演，而科林的工作便是统筹剧组的各项杂务。开拍之后，梦露与劳伦斯·奥利弗之间因表演方法不同而产生了激烈冲突，致使剧组进度远远落后预期。科林负责于当中调停，他开始与梦露频繁接触。不知不觉间，科林发现自己已为梦露的魅力所深深吸引…… 米歇尔·威廉姆斯凭借本片荣获2012年金球奖最佳女主角（喜剧/音乐类）。
