娜斯佳和她的父亲们

　　《一夜》是一部由Minhal Baig执导，安娜·坎普和贾斯汀·查特文等人主演的美国爱情电影，此片于2016年上映。
　　电影主要讲述了两对情侣在一个旅馆的一夜中探究了自己的爱情，过去和现实交织在了一起。

　　传媒公司白领谷雨的男朋友原驰是单位同事，为争夺公司副总经理的职位，“美人计”失败，误会分手。 海归心理学博士刘晓燕偶然的邂逅谷雨的老总吴天明，一见钟情，主动追求。谷雨迫于逼婚压力，爱情观转变，希望能够嫁给有钱的吴天明。碍于闺蜜之情，谷雨不敢明目张胆的与刘晓燕竞争，她的办法是先要拆散刘吴，再主动出击。谷雨利用有恋脚癖的软件设计师对自己的追求，牺牲色相获得一款强迫打开摄像头功能的跟踪软件，几次在刘晓燕准备把处女之身交给吴总的关键时刻，设计打扰。主播车娜娜因为直播时过于裸露被封杀，迫切的找闺蜜诉苦，意外发现了谷雨的秘密……

　　国内外で注目を集める新鋭・井樫彩監督が、孤独を抱える14歳の少女と27歳の女性の愛の日々をつづったラブストーリー。田舎町の病院に入院した14歳の陽は、優しく接してくれる看護師の弥生に特別な感情を抱くが、退院の日、弥生が突然看護師を辞めたことを知る。1年後、陽は街中で偶然にも弥生と再会する。しかし彼女は現在、男たちに身体を売って生計を立てており、過去の優しい面影はすっかり消えていた。学校にも家にも居場所のない陽は、引き寄せられるように弥生に近づくが、弥生には誰にも言えない悲しい過去があった。孤独を抱える2人は、弥生のアパートで心の空白を埋める生活を送りはじめるが……。陽役を「みつこと宇宙こぶ」の小松未来、弥生役を「THE LIMIT OF SLEEPING BEAUTY リミット・オブ・スリーピング ビューティ」「娼年」の桜井ユキがそれぞれ演じた。

　　天使塞斯（尼古拉斯•凯奇 饰）拥有天使应该拥有的一切法力，还能永生。他的使命就是每天游荡在医院里将已去的人们带到另外一个世界，他却爱上了医院的医生梅姬（梅格•瑞恩 饰），为了能够和心爱的人在一起，塞斯放弃了天使的身份，放弃永生，坠入了凡间。然而，他却并不明白，等待他的，除了动人的爱情，还有弄人的命运。

　　"Daughters of the Dust" tells the story of a family of African-Americans who have lived for many years on a Southern offshore island, and of how they come together one day in 1902 to celebrate their ancestors before some of them leave for the North. The film is narrated by an unborn child, and ancestors already dead also seem to be as present as the living.

　　校内闻名的栀子花乐队主唱许诺（李易峰 饰）和芭蕾舞专业的言蹊（张慧雯 饰）是大学校园里一对幸福热恋的情侣。二人为各自的梦想而奋斗着：怀揣芭蕾梦想的言蹊和三位室友兼好友，一同申请去巴黎深造；许诺和队友们也在不懈努力着，希望能在“梦想之夜”得到唱片公司青睐，出道成为职业乐队。
　　然而就在言蹊以为巴黎之梦触手可及的时候，她却遭遇了现实中的巨大障碍。看着言蹊处于崩溃边缘，许诺一直陪伴她左右。为了让她重新振作燃起希望，许诺决定和乐队成员一起，为她准备一个意想不到的大惊喜。但是，这个决定却让他付出了不小的代价。这些处于青春迷茫期的年轻人，究竟何去何从……

　　克里斯（罗宾·威廉姆斯 Robin Williams 饰）与安妮（安娜贝拉·莎拉 Annabella Sciorra 饰）深爱着彼此，这对让人艳羡的夫妻有个美满的家庭，聪明可爱的孩子们，坚贞不移的爱情。可是一切都在孩子们意外死亡后打碎了。
　　自从孩子们逝世后，克里斯与安妮每天都活在痛苦之中，他们心里惦记的始终是死去的孩子，他们的生活彻底失去了快乐的根源，都变得郁郁寡欢，但两人依然互相依靠着生活。可是，厄运并没有就此停止。安妮最心爱的克里斯也在意外当中逝世，死后的克里斯在天堂上看到了自己的孩子，仿佛生活又回到了当初快乐的样子，但他的心里仍记挂着尚在人间的妻子。
　　丈夫的逝世，使安妮心痛不已，生活变得更加难熬了。终于，她还是无法忍受独自生活的寂寥，自杀了。生前的她经常凭想象画出天堂的样子。可是由于自杀，她只能堕入地狱。克里斯誓要留在妻子身边，不让她继续受折磨。于是，他到地狱去了……

　　校园时代，邵兵（陈伟栋 饰）和他的同桌罗小鱼（卢蒽洁 饰）情窦初开。邵兵因家庭变故，弃学打工，误打误撞来到一家互联网企业。在这里，邵兵接触到互联网领域并意识到它所产生的巨大商机。 邵兵、张京（屠夏岩 饰）、王德（侯迪 饰）等几个志同道合的年轻人开始了创业。
　　企业成立不到半年，合伙人王德突然卷钱跑路，致使公司负债累累，被债主逼债，而她心爱的罗小鱼，竟然也被罗小鱼母亲强行带出国了。邵兵的情感和事业纷纷陷入低谷。
　　此后，邵兵结识了美女讲师于静（姜怡伊 饰），在她的帮助下，邵兵取得投资方的青睐，公司逐渐步入正轨。共同的理想与追求，使得邵兵和于静在不断的接触中日久生情。两人感情升温，决定结婚，但此时罗小鱼意外出现了，回国后的她已经变成气质与美貌俱佳的职场丽人，她希望和邵兵重归于好。邵兵不得不在两个女人之间做出选择……

　　影片讲述了古灵精怪的螃蟹精颜如玉（张童欢饰）被迫嫁给样貌丑陋的老牛妖王做小妾，因向往自由想要寻找真爱，利用传说中的“惊雷”方式逃至人界邂逅了冷酷捉妖师云中锦（陈炳强饰）。捉妖师云中锦儿时遭恶妖残害，全家灭门，因此导致性情冷漠、嫉妖如仇。遇到颜如玉后，两人同捉妖、互成长、共患难，百炼钢也化成了绕指柔。从相识相交，到相知相爱，终于“开窍”了的云中锦却得知，强闯“惊雷”之后的颜如玉，只有七日性命，七日之后便会魂飞魄散……

　　故事发生在基特里奇总督学校中，詹姆斯（威廉·赫特 William Hurt 饰）是在这里任教的教师。凭借着自己特立独行的教学手段，詹姆斯很快就获得了学生的好感和同事的信任，对于在这里的平静生活，詹姆斯本人亦十分满意。
　　萨拉（玛丽·玛特琳 Marlee Matlin 饰）曾经是这所学校的学生，毕业后，她几经辗转，回到了此地当起了清洁工。因为生理的残疾，萨拉个性孤僻，但这反而吸引了詹姆斯的注意，他主动接近莉兹，希望莉兹能够重拾自信继续学习深造。随着时间的推移，莉兹对于詹姆斯的态度从一开始的及其抗拒转而变成了略有好感，她的性格开始慢慢转变，和詹姆斯的距离也原来越近。可就在这时，新的问题又出现了。

　　《爱是永恒》改编自法国作家艾莉丝费尼的小说，描述十九世纪末，正当双十年华的范伦婷爱上朱勒斯，两人决定共组美好家庭，却遇上世界大战爆发。
　　三代法国女人的生命历程，谱出一部跨越百年的绝美史诗。十九世纪末，正当双十年华的范伦婷爱上朱勒斯，两人决定共组美好家庭，却遇上世界大战爆 发。二十世纪末，一位法国女子不顾一切奔向爱人的怀抱，她是范伦婷的孙女，他们留下爱情的结晶与传承。百年岁月流转，男人与女人相遇、相恋、相守并生儿育女，谱成一部家庭史，战火无情，唯有爱能永恒。
　　近代大师陈英雄以他的第一部电影「青木瓜的滋味」夺得坎城影展金摄影机奖，接著又以「三轮车伕」勇夺威尼狮影展金狮奖。这是他回归法国影坛，第三度与『华人第一摄影』李屏宾合作，集结法国当代三大女星包括奥黛莉朵杜、梅兰妮萝伦及贝芮妮丝贝乔，拍摄一部以三代女人为主题，跨越百年的史诗电影。奥黛莉朵杜饰演年轻少女、少妇到年迈的寡妇，挑战老中青三代高难度的角色。

　　Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson
　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.
　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.
　　To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.
　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.
　　(Howard Schumann, talkingpix.co.uk)
　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.
　　(Dennis Schwartz, homepages.sover.net)
　　I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.
　　(Dave Sindelar, scifilm.org)
　　See also the remake: Death Takes A Holiday (1971)