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导演：
/林岭东
剧情：
《监狱风云》的续作，资深囚犯阿正（周润发 饰）因为与前任科长（张耀扬 饰）的过节而延长刑期，服刑期间母亲病逝，儿子良仔被送到孤儿院甚至对父亲产生怨恨。阿正一心想申请外出看望儿子却遭到狱警头子“鬼见愁”（徐锦江 饰）的诸多刁难。“鬼见愁”因收买狱中大陆帮首领大圈龙（陈松勇 饰）不果 ，把其视为眼中钉，并且从中唆使挑拨使得大陆帮与阿正之间产生隔阂。一次陷害使得大圈龙不得不出逃，被误会陷害大圈龙的阿正也被迫逃走，逃跑途中两人相遇并产生了一段“难兄难弟”般的友情。最后阿正被再次抓回狱中，在暴乱中阿正终于得到机会和”鬼见愁“短兵相接。
导演：
/林大雄
剧情：
下属的一个失误令身为上司的郑凯（黎明 饰）事业陷入困境停滞不前，不仅如此，他还得承担下属造成的巨额损失。郁闷至极的郑凯只能借酒消愁，在酩酊大醉之际，一位陌生的黑车司机（耿乐 饰）将郑凯送回了家并且留下了电话，此时的郑凯并不知道，这名神秘的男子，将彻底改变他的一声。 黑车司机反常的态度和疯狂的举动令郑凯感到不寒而栗，他并不记得自己和此人说了什么，那一夜两人又经历了什么。没过多久，一直为难郑凯的上司突然惨死，而郑凯则成为了警方重点怀疑的对象，只有郑凯知道，这一切和黑车司机有着脱不清的干系，而随着时间的推移，黑车司机已经在不知不觉中来到了他的身边。
导演：
/王飞,杜修斌
剧情：
1927年，滇军策应广东革命政府北伐号召征讨军阀唐继尧，双方激战昆明城外。马夫兵杨志华凭借天赋一炮命中杜清时的战地指挥所，虽然战败被俘，却因神炮技艺死里逃生。杨志华阴差阳错考入讲武堂，和高材生杜清明冲突频发。但其得到教官枝野胜男的严酷训练，成为最没文化的神炮手。抗日战争爆发，杨志华加入八路军部队奔赴华北战场，意外与杜清明重逢。一个八路军营长，一个国民党教官，二人摒弃前嫌，携手抗敌，与枝野胜男多次较量，师生决战战场。枝野胜男出尽奇招，组建特种部队，杨志华的炮兵营多次陷入危机。历经挫折考验，杨志华和杜清明反败为胜，在关键战役打败枝野胜男而名声大噪。抗战胜利，国共分裂，杨志华和杜清明又在济南战役兵戎相见。
导演：
/亚历山大·辛格
剧情：
In London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the fall caused her accident. Psyche 59 is a 1964 British drama film directed by Alexander Singer and written by Julian Halevy. It is based on the 1963 novel Psyche '59 by Françoise des Ligneris. The film stars Patricia Neal, Curd Jürgens, Samantha Eggar, Ian Bannen, Beatrix Lehmann and Elspeth March. The film was released on 29 April 1964, by Columbia Pictures.
导演：
/陈安琪
剧情：
越战时期，奔赴战场的美国大兵途径香港时，会在湾仔停留，这让湾仔自1950年代末的数年间，充斥靠他们过日子的纹身师傅、小要饭、拿着照片找爸爸的“杂种”、阿飞及实为妓女的Bar女郎，形成特有的风情。 Bar坊妈咪回乡找人做Bar女，家境贫寒、相貌不俗、个性倔强的赖水尾（夏文汐）和几个同乡姐妹从大澳渔村来到湾仔，开始卖肉生涯。起初，渔家女受到其他Bar女的嘲笑，但经过经验丰富的小伶玉（于倩）的一番调教，她们很快不输她人，易名水美丽的赖水尾更是出尽风头。风度翩翩却又年少轻狂的“杂种”Jimmy（黄秋生）幼年丧母，小伶玉将他养大后视作私有财产，不过Jimmy对她并无爱情，他心里只有不知身在何方的父亲。为Jimmy着迷的不止小伶玉一人，诸多Bar女只怪小伶玉将他看得太紧，他又不给她们揩油的机会。水美丽亦钟情于他。 某次Jimmy被阿飞堵截，水美丽机智将他相救，又相告有心听来的他父亲的名字，两人瞒着小伶玉开始恋爱。后来水美丽为了他与小伶玉撕破脸，主动离开Bar坊，而找到父亲的他早忘记当初誓言，拍拍屁股去了美国。一家不要家家不要的行规令水美丽成为街头妓女，但小伶玉这个机会亦不给她，无奈之下她去了麻油地，几年挣扎，境况越来越糟。亏得性情相投的黑帮大姐大王英（叶德娴）相助，水美丽东山再起，短短几年更将生意做到了尖沙咀。 随着越战的结束，湾仔渐成荒凉地，小伶玉亦变作风中残烛。水美丽念旧恩将她探望时，Jimmy恰好回港。听闻他是回港找妻，旁人都以为水美丽会与他再续前缘，对他早已死心的水美丽心底亦再泛涟漪，不料他早变作世俗之人，更将两人的感情忘得一干二净。其后水美丽有心将精力全部放在生意上，无奈时代风云不是她及待她若同性爱侣的王英所能把握。
导演：
/元德
剧情：
二十世纪初的中国，民生凋敝。作为没落贵族的金玉蓉立志成为一名救人济世的医生，用自己的双手去帮助更多的人。她遇到了同样心怀苍生的大家族之子赵正南。两人从相识、相知再到相爱。他们也努力地探索着让这个世界变得更好的方式。历经种种磨难，玉蓉终于成为了悬壶救世的医生，赵正南也成为了拥有进步思想，守护一方的军人。但时代的洪流让她们不得不分离，两人最终天各一方。正在玉蓉感到人生幻灭，陷入低谷时，共产主义信仰照进了她的世界，玉蓉渐渐涅槃重生，全身心投入到革命事业中，成为革命的隐形守护者。历经种种险阻后，这对有情人终成眷属。在玉蓉的感召下，赵正南也最终成为红色浪潮的一份子，携手抗日，共同拥抱崭新的中国。
导演：
/陈烛昭,沈月明,麦灵芝
剧情：
內容簡介: 本片分三個單元故事: (一) 除夕 : 靜然發覺丈夫偉立與好友 Angie 有染, 心感不快. 偉立在人前與她假扮恩愛, 背後卻冷落她. 除夕夜, 靜然刻意打扮更被搭訕, 但她決定回家等待偉立. 靜然誤搭賊車, 被挾持入屋行劫. 十二時正, 偉立沒回來. 靜然與賊匪發生關係作報復. (二) 前世冤 : 冬冬常大發醋勁, 不讓基明往見工作伙伴 Lindy. 冬冬要求與基明結婚, 基明不願. 翌日, 冬冬搬離. 冬冬誤會基明, Lindy 有私情, 一怒下離去. Lindy 開始與基明同居, 但基明發現自己最愛冬冬. 往機場找冬冬的基明被控超速, 冬冬出現保釋, 兩人結婚. (三) 盟 : 安國與韋回港結婚, 國回故居, 看見已死去的未婚妻沈香榆, 榆要求國履行他的盟約. 韋感國不對勁, 懷疑榆鬼魂作崇. 榆欲殺韋, 國阻止, 並記起他曾立下這輩子不再結婚的承諾, 遂留下韋, 與榆駕車一 起墮崖.
导演：
/王好为
剧情：
故事发生在河南省西部辛庄村。由于贫穷，黑墩（李忘雄 饰）27岁尚未娶亲成家。丁云鹤（于绍康 饰）是个退休的铁路工人，有一手种瓜的绝活，五十年代因为错说一句话被打成右派，如今平反后受邀到各地指导种西瓜。黑墩请他到辛庄做种瓜的技术顾问，丁云鹤来到辛庄后，不但指导大伙种瓜，也带来了全新的生活理念，黑墩靠种瓜致富娶上了媳妇。村支书张米贵（杨子纯 饰）刚开始反对大伙弃农种瓜，现在瓜农丰收后他又拒绝支付按合同给丁云鹤的大笔酬金，他开始给丁云鹤罗织莫须有的罪名，并利用大伙的小农意识克扣丁云鹤应得的报酬，还组织捉奸闹剧，诬陷他与女房东有奸情，丁云鹤愤怒地离开了这个失信的村庄......
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：
/王好为
剧情：
农村姑娘鲁雪枝远离家乡，投奔到大 兴安岭的姐姐家落户。她经过刻苦学 习，于林业中学毕业后，即开始了伐 木工的生涯。茫茫林海，野兽出没， 伐木劳动十分艰苦。但倔犟的鲁雪枝 却爱上了这里的—切，并被选为青年 突击手。在劳动中，雪枝与纯朴的伐 木工房根柱相爱，但姐夫陆民子却极 力反对，横加阻拦。姐夫想把她嫁给 一个有权势的民政干部，雪枝坚决不 从。从此，雪枝遇到工作不给转正， 结婚不开证明等种种刁难。房根柱母 子为求完婚，试图用钱物向陆民子求 情，遭到拒绝。雪枝忿然搬出姐姐家 ，她对根柱的懦弱十分失望，决心以 死相抗，跳河自尽。幸被林业局团委 书记江有林发现救起。当江有林了解 情况后，去找陆民子评理，却遭到一 些人的嘲弄和非难。陆民子更是满口 胡言，诽谤雪枝，令雪枝无地自容。 姐夫的跋扈和未婚夫的软弱，使雪枝 感到走投无路，决定返回老家。江有 林向她阐述人生的意义， 激励她的 斗志，同时又坚持不懈地为鲁雪枝争 取婚姻自由而四处奔波直至胜利。结 婚前夕，鲁雪枝感到自己与根柱在精 神上存在着距离。她很矛盾，痛苦， 但仍决定以身相许。忠厚的根柱也深 感自己的怯懦，不愿累及雪枝，终于 不告而别，参加了扑灭山火的行列。
导演：
/黄健中,于中义
剧情：
秋天的早晨，何鸣和阿芬这一对勤劳的中年夫妇，载着满筐猪娃，摇着小船向镇上驶去。梁溪镇的早市繁荣而喧闹，玩蛇人颈上的大蟒，说书人口中的"七侠五义"，茶楼上演评弹"十美图"的大海报，吸引着镇上的人们，更吸引人的是镇上新盖起的影剧院。老人们感叹地说：想不到梁溪也有了大戏馆。黄昏，阿芬边煎鱼边哼着锡剧，何鸣悠然地拉着二胡伴奏。青年炳昌带来消息，于主任的表弟、文化站的王站长要出任影剧院经理了。阿芬对丈夫说自己对此不感兴趣。何鸣是个曾三次当过支书，又三次下台的干部。不久，公社党委书记周大田决定由何鸣担任影剧院经理，何鸣表示自己不愿再当干部了。周大田做了许多工作，撤销了对何鸣的一切处分。何鸣终于同意担任经理，并与周大田订立了"约法三章"。何鸣上任后，公开张榜招工，许多人送来了礼物。考场上，何鸣用巧妙的办法退掉了所有的礼品，择优招进了职工，引起了于主任等人的强烈不满。市剧团来参加影剧院开幕式时，何鸣在食、宿、交通等问题上遇到了严重的障碍。影剧院开幕之夜，公社干部的家属们拥塞在门前，站在远处的阿芬看到何鸣和周大田订立的"约法三章"并未能真正实行。阿芬要回家了，何鸣也跳上小船，要送妻子一程。小船艰难地穿过布满大小船只的河道，驶向月光碧水的太湖。此刻，周大田站在桥头，眼中噙着泪水，望着这天地间仿佛飘然无羁的一叶小舟，望着这一对甘苦相知的夫妻渐渐远去。
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.
