路过未来

　　市里要主办的拉魂腔三戏汇演，县文化局干部俞渝来到泗州戏的传人麻九爷的家，要麻九爷父子带队参加汇演，老爷子一高兴病倒了，他要儿子继续负责此事。在经历了许多的挫折之后，演出终于获得了成功。

　　《海边的李尔》故事讲述日本国宝级演员兆吉，在步入高龄、被怀疑患有失智症后遭到长女和弟子遗弃，被迫写下遗嘱并送入老人院。某天，兆吉逃出老人院，独自于海边徘徊，遇见许久未见的小女儿，仿佛看到李尔王最疼爱的小女儿寇蒂莉亚的影子，惊觉自己的遭遇竟与李尔王如此相似……故事以莎士比亚悲剧“李尔王”为基底展开，细腻刻划出兆吉的最后光辉。

　　小小年纪便声名鹊起的广末凉子后继乏力，而今同时干着婚礼主持人、房屋清扫、临时演员等工作赚取营生。她渴望美好的爱情，对同世代光辉亮丽的女星竹内结子充满羡慕和嫉妒。同样是曾有过辉煌演艺生涯的井川遥，幸运地和一位出色的男子（藤木直人 饰）相会，只不过对方似乎另有家室，这让她惴惴不安。广末和井川时常出没的酒吧，其经营者则是也在演艺圈沉浮一时的齐藤由贵。而今齐藤夜晚经营酒吧，白天则与20多岁的女孩一同坐在大学课堂学习。当毕业来临之际，她突然感到有些迷茫。
　　命运不经意间和三位女性开了玩笑，在平行的宇宙里，她们各自为了幸福打拼……

　　豫剧电影《天职》主人公纪忠的原型是全国唯一连续两届获得“全国纪检监察系统先进工作者标兵”称号的周口市纪委书记杨正超，影片以其真实的事迹为创作蓝本，热情讴歌了新时期纪检监察干部亲民、爱民的公仆情怀和勇于担当、秉公执纪的英模形象。
　　电影版《天职》由河南国杰文化传播有限公司、国影宣文化传媒(北京)有限公司联合拍摄。影片由著名剧作家陈涌泉编剧，国家一级导演王冰河执导，江团结、党玉倩分别饰演男、女主角，中国戏剧梅花奖获得者李树建、著名豫剧表演艺术家张宝英等将倾情加盟。

　　影片描写刚从电影学院毕业的学生阿格涅什卡，雄心勃勃，立志拍一部以50年代劳动模范砖瓦工人布尔库特为主角的传记性记录片作为自己的毕业论文。为了弄清楚主人公是如何成为劳动模范，后来被控告判罪，而最终又恢复名誉的曲折传奇的一生，阿格涅什卡进行了大量的调查和资料的搜集，还访问了当时历史发生时的一些关键人物。最后她找到布尔科特的儿子，得知这位曾经被称为大理石人的英雄已经死了。就连公墓的墓碑上都没有留下布尔库特的名字。“在格但斯克造船厂工人骚动期间，布尔库特丧了命。人们再也找不到他的任何痕迹。从此，大理石人就成了一个幽灵。”
　　影片的题材颇为大胆，收场对主人公命运的说明曾遭剪刀伺候。旨在通过一个国家宣传机器制造模范工人的神话，揭露了压制自由的体制对人性的摧残和对纯真百姓的欺骗，用纪录片的风格展现了一个冷酷的现实，让人联想到70年代的状况。本片导致瓦依达多年被禁止拍片，但在数年后仍然拍出了续集（铁人）。

　　1965年是马丁·路德·金与黑豹党、披头士与越战、白人在篮球领域统治天下的时代。
　　高中女子篮球教练唐·哈金斯（Josh Lucas 饰）接到德州西部大学的聘用，虽然提供的待遇不高——一家人只能暂住男生宿舍，董事会的资助也不足以招揽高水平运动员，但由于将要执教的是一支NCAA(美国大学联盟锦标赛）第一赛区的球队，哈金斯还是承接下来并马上同助手展开范围广泛的定位在黑人选手上的球员搜寻。
　　教练组陆续找到了七位天赋优异的黑人球员，这些球员性格迥异，各有所长。在经历了一次热血对决之后，黑白球员很快打成一片，投入到哈金斯教练严酷的训练中去。球员偶尔的违规行为跟篮球理念的区别让教练与球员们逐渐成长着……
　　终于迎来了赛季开始的时刻。德州西部队一路凯歌，面对种族主义者的暴力威胁、部分舆论的轻视，哈金斯教练决定和他的黑人球员们一起冲向光荣之路的顶点……

　　Henry is an introverted architect. After the death of his wife in a car accident, he sets out to help Millie, a homeless teen, to build a raft to sail across the Atlantic.

　　在乡下宁静的小镇里，人们辛勤耕作，享受宁静而安详的每一天。这天是秋分之后的满月，镇上的人们举办了篝火晚会，准备狂欢一整夜。日落时分，年轻人逐渐聚集在此，Hank是Abe的兄弟，他桀骜不驯，带着自己火辣的女友来到这里，Abe带着朋友Carter也随后出现，Hank和Abe随着年龄的增长互相变得不信任彼此，正是这个夜晚，他们之间的关系爆发了，当矛盾冲突到达顶点，这群年轻人将要何去何从，一切还能回归往日的平静吗？

　　根据斯泰纳姆同名自传改编，将聚焦她如何从一名普通记者成为美国女权运动的先驱。

　　日本導演岸善幸新作《（非）一般慾望》，改編〈聽說桐島退社了〉暢銷作家朝井遼的小說〈正欲〉。以多線敘事描述討厭社交的上班族男子、年過三十的單身女子、經營影音頻道的小學男孩，對異性恐懼的女大生和獨來獨往的男舞者，彼此看似無關，卻各自有著社會所不容的特殊癖好。稻垣吾郎、新垣結衣以精湛演技揭開社會的偽善，解構日本社會保守價值觀之餘，更大膽提出質疑，如何定義常態和病態？少數族群真能見容於主流價值之中？

　　Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police.
　　This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.

　　The memories of the title are the recollections of a young woman’s older sister that killed herself mysteriously. The subtle traces of abstractness that inform the film show signs of experimentation by the film’s rookie director, full of dramatic careers in her middle-50s making her feature debut.