小夫妻

　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.

　　少女藤木美奈斗（堀北真希 饰）有一个无话不谈的笔友奈特（意为“骑士”），生活中发生的大小事她都与之倾诉。在士多店打工的美奈这天遇见了男生唐泽秀（石田卓也 饰）并一见钟情。阿秀热爱摄影，却迫于医学家族的压力一直努力考取大学医学专业，两度落榜的他还在苦闷地奋斗中。阿斗将自己的倾心告诉奈特，却被奈特反对。然而阿斗这次仍然听取了自己的心意，向阿秀表白。
　　在二人交往的过程中，阿斗发现自己会突然消失记忆，甚至手机中存储的阿秀的照片以及号码都会不见。困惑的她怕被阿秀嫌弃，一直保守着这个秘密。随着失忆的情况发生次数越来越多，阿斗鼓励她去他父亲的医院检查。检查结果出来后，阿斗却提出了分手。
　　伤心的阿秀接受了这个结局，她渴望这时能见到奈特，得到奈特真人的慰藉。然而无论她如何苦等，奈特也没有出现，直到这晚，她得到一串钥匙，当她启开秘密的大门，惊讶地发现了奈特是谁。

　　影片讲述陈雯（秦岚饰）和安凯（任重饰）因冲动分手。安凯特地为陈雯准备了一个惊喜想挽回失去的爱人，却不料被陈雯邀请的客户霍尔（冯粒饰）以及闺蜜燕妮（刘玫麟饰）打乱了计划，一场尴尬、搞笑、温馨的饭局就此上演。但陈雯不知道的是，其实在背后设局的另有其人……

　　前东德最好的一部超现实主义幻想剧！
　　this is one of the most amazing looking,surreal films of all time and i only recently acquired it on video.it was just as good after fond childhood memories of it.highly recommended,with great special effects,and stunning set design,and vivid colour and cinematography.buy with confidence!
　　This is as you remember watching it as a child. Lifelike, overtly coloured and full of magical splendor, terrifying nasties and surreal characters. In short, do not shy away from this opportunity to show a "Christmas Special" to your children in favour of the usual fare from Disney and co. Rather, pop a fresh batch of pop corn, get first dibs on the comfy chair and opt for what was arguably one of the highlights of East German children's programming.

　　随着VR科技的日益发展，它已经慢慢的融入了我们生活、学习、工作之中。《VR推理战记》就是以VR技术发开出来的一款角色扮演类的推理战略性游戏。玩家只要带上头盔就能成为一名侦探，在游戏中施展自己的破案能力。东元和凌雪在一次游戏中，凌雪却因为一场“意外”成了植物人，东元对她不离不弃，尝试一切办法让她恢复，但在治疗的过程中，东元发现这场“意外”的背后存在一个秘密，在生与死的考验中，东元敢于面对压力，他通过自己敏锐的观察力和缜密的分析能力再次进入游戏最终解开了一场阴谋。凌雪的心被东元感化，两人如愿走到了一起。

　　当爱逐渐变得褪色无光，婚姻的瓶颈期就随之而来了。本（布鲁斯·威利斯 Bruce Willis饰）和凯迪（米歇尔·菲佛 Michelle Pfeiffer饰）的婚姻也面临着这个难题。一方面，他们还爱着对方，另一方面却又对每况愈下的婚姻质量失去耐性。孩子们去夏令营了。这一个月里面，他们可以有足够的空间和时间重温旧梦，寻回爱情的美妙感觉。然而，他们的努力一再白费。刻意的挽回婚姻只令彼此都更清楚到了非分开不可的地步了。于是，二人协商，在孩子们回来的那天，要跟他们好好谈论离婚的决定。
　　首先反悔的是凯迪，她对本的爱情明明还在，而这个家庭的气息让她如此舍不得摧毁。凯迪的爱意让本也觉得，他们应该再为婚姻的努力一下……

　　苏珊娜于二战后返回从集中营回到已成废墟的柏林，却发现她的公寓里住了其他人，即汉斯•默滕斯医生。他被战争弄得消极不堪，酗酒成性。苏珊娜叫他离开，但对方不想走，于是他们在苏珊娜的公寓里合住起来，甚至开始对彼此产生好感，直至相爱。这稍稍鼓舞了默滕斯，然后他得知布吕克纳上尉还活着，并且就住在柏林。布吕克纳上尉在二战中是他的头头，他在圣诞节那天曾经下令杀害一百多条无辜性命，包括许多妇女和孩子……
　　该片位列最伟大的一百部德国电影第六位。

　　讲述了5个来自不同家庭的青少年，通过组建“哪吒乐队”而引发出的各自不同的叛逆经历，也展示了来自社会、教育、家庭的矛盾现状，剧情真实深刻，让人产生共鸣，给人以深省。逆爱是一次青春的逆袭，同时也是一场因爱而生的人生反转。青春不应在时代中和叛逆中溺亡，正确的引导和足够的爱，可以让叛逆不再是青春唯一的标签。

电影《水恋》根据全国水利系统先进个人、云岭楷模、云南省先进工作者、全国五好家庭洪世祥原型改编。洪世祥系云南省水文水资源局昭通分局一个普通的技术员，中国水文战线上一名最普通的技术干部，35年如一日坚守基层，把一生献给了水文事业，无怨无悔。在枯燥寂寞的岗位上，在生命垂危的生死关头，在每一次急难险重面前，默默无闻地用忠诚、无畏诠释着“献身、负责、求实”的水利精神，毅然担当水资源观测分析的“水会计”、水环境监测研究的“水向导”、水灾害预测预报的“水医生”，为地方水文数据收集、水利工...

　　“天空是我们的边界。”弗蕾德（苏珊·克莱门特 Suzanne Clément 饰）这样告诉那些好奇打探她对男友劳伦斯（梅尔维尔·珀波 Melvil Poupaud 饰）变性有什么看法的人。那是1989年，她相信她们这代人已可以接纳变性人了。只是无论弗蕾德还是劳伦 斯，都要用近十年时间发现，真正手足无措的是他们自己。电影以闪回倒叙的手法讲述一个女人同她的变性男友之间跨越世纪的情缘。对劳伦斯来说，变性是生存的前提，是令他在水底闭气30年终于呼吸的第一口氧气。然而劳伦斯只是决定了自己的性别，他没想过变性后的人生，他更没有想过，要用十年来验证和生命中最重要的朋友/恋人——弗蕾德的感情。
　　《双面劳伦斯》是加拿大年轻导演泽维尔·多兰的第三部剧情长片，也是多兰从影以来最富野心和史诗风格的作品。与前作相比，本片不再带有那么强烈的自传色彩。然而多兰巧妙的从特异边缘角色身上提炼出人类感情的共性——那些热恋、争执、动摇、变质与重构背后的内核，从而让主题回归到自己最得心应手的“多兰美学”：信仰和追逐那些“不可能之爱”。《双面劳伦斯》入围第65届戛纳电影节“一种关注”单元，获得该单元的最佳女主角奖以及年度酷儿棕榈大奖。

　　落寞的青年亚历克斯（德尼·拉旺 Denis Lavant 饰）独自徘徊巴黎街头，他的女友移情别恋，不久又要去服兵役，钟爱的电影事业前景模糊。偶然机缘，亚历克斯进入一个私人聚会，并结识了美丽的女孩蜜蕊拉（蜜蕊拉·皮雷 Mireille Perrier 饰）。蜜蕊拉此前与男友伯纳情深意笃，为了爱情她甘愿奉献一切，这却让对方无法承受如此炽烈的感情，只能选择逃避。相同的境遇让他们走到一起，互诉各自的情感经历，两人的心由此更加贴近。亚历克斯和蜜蕊拉相互依偎，空气中弥漫着悲伤无望的气味……
　　本片为莱奥·卡拉克斯（Leos Carax）导演处女作，并荣获1984年戛纳电影节青年奖。

　　爱子班尼特（亚伦·泰勒-约翰逊 Aaron Taylor-Johnson 饰）的意外身亡让身为父母的艾伦（皮尔斯·布鲁斯南 Pierce Brosnan 饰）和格蕾丝（苏珊·萨兰登 Susan Sarandon 饰）痛不欲生，两人之间的关系也降到了冰点。在绝望的情绪弥漫了数月之久后，一个名叫罗斯（凯瑞·穆丽根 Carey Mulligan 饰）的女孩的出现打破了压抑的平静。
　　罗斯自称班尼特的女友，腹中怀了他的孩子。在半信半疑之间，艾伦和格蕾丝接纳了这样一个几乎是凭空出现的女孩。刚开始，误会和争吵在所难免，关于罗斯真实身份的猜疑也从未停止，但随着罗斯的肚子渐渐变大，一种久违的亲情和温情重新出现在了这个四分五裂的家庭之中。