不死情谜

简介：三名年轻的穆斯林男子是恐怖势力的一份子，他们正在伦敦的一个公寓里制造炸弹，这时他们接到一个电话，要求立即带上装备逃出公寓。与此同时，警方已收到警报，他们受到了怀疑。出逃过程中，三人被逼到一个街道上的餐馆里，他们选择将餐厅的食客们当做人质，一场警察与高智商犯罪...

简介：小女孩拉克希米，梦想在全国舞蹈比赛中，赢得“印度之傲”的称号。而背后，则有父母的恩怨情仇，和对手及设置迷魂阵的电视台搅局……

简介：

一群年轻人，挣扎于不安的生活，对前途的迷茫。Kei与爱人Ai的关系有了一种不安全感，当她遇见伊朗学生Naima后，Kei重新思考自己的生活。看到Naima如此真实和虔诚的对待自己的生活，Kei受到影响，自己的生活也开始有所变化。

简介：

本片由加泰罗尼亚导演卡拉·西蒙执导，讲述了一个传统乡村家庭中桃子采集活动日渐式微的故事，当有人提出要将桃树砍伐并安装太阳能电池板以此适应新的方式时，这家人开始了捍卫自己土地的“战斗”。本片以使用非专业的加泰罗尼亚语演员为特色，于第72届柏林国际电影节主竞赛单元中作世界首映，并获颁最高荣誉金熊奖。

简介：该影片基于Marilyn Bell（Caroline Dhavernas饰演）的真实故事改编。Marilyn Bell当时16岁，是一名游泳健将，她正尝试成为第一个游泳横渡安大略湖的人。但当时美国还有位顶级游泳选手Florence Chadwick，与她一同在这场特殊的游泳马拉松中竞争第一。因为Florence Chadwick身经百战，所以大部分人都认为她会获取最终的胜利。但出乎意料的是，由于Florence Chadwick对途中艰险程度的轻视，导致了她退出了比赛，而Marilyn Bell坚持到了最后，最终成为了横渡安大略湖第一人。

简介：公元2020年，易博士，开发出一款重新读写大脑并可增强人类技能的程序，该程序能够读改一个人的记忆，并在其基础上可以添加任何所需技能。这款程序可改变人类未来的发展。但美中不足，程序会覆盖曾经的记忆…即便程序不完善，也足以引发学术界的轰动。然而同一研究机构的A博士却想利用其建立一个庞大的超能军团。为防止A博士的阴谋得逞，易博士提前把程序分成六部分，隐藏在他得力的六个学生头脑中，并且把他们安排在各地……

简介：

Follows two estranged siblings as they return home to the sprawling ranch they once knew and loved.

简介：在宾夕法尼亚州一所精英寄宿学校的封闭世界里，哈德威尔，学生团体由五个派系管理。17岁的塞拉·萨默斯以不可动摇的沉着管理着最占统治地位的黑桃乐队，因为他们迎合最经典的恶习，为学生提供令人垂涎的非法酒精和药物。两派之间的紧张关系不断升级，当塞拉的好朋友右手马克西因新的爱情而分心时，塞拉接替了一位痴迷于帕洛玛的门生，她把管理学校的智慧传授给了帕洛玛。但是随着毕业的临近，帕洛玛证明她学习速度非常快，塞拉的恐惧变成了阴险，她努力克服失去自我定义的控制。　　在她的特写处女作中，作家导演Tayarisha Poe让我们沉浸在对青少年政治的高度描绘中。这个令人着迷的性格研究概括了对于一个十几岁的女孩来说多么令人陶醉的力量，她敏锐地感觉到被拒绝的威胁。激动人心的新人洛维·西蒙娜的演出完美地体现了塞拉在公众面前无懈可击的命令，以及推动塞拉的内部恐惧和不确定性。

简介：影片的主人公是一名二战英雄，战后来到一座西部利亚小城当起了火车司机。真正给他们带来的极大的肉体和心灵的创伤，英雄们于是将火车视为膜拜的对象，疯狂的追求提升火车的速度。人和车似乎已经不分你我。英雄们就在这片西伯利亚丛林中，开始了一场不顾生命安全的火车竞速比赛。

简介：Coming of age film about Sven, a boy who feels trapped in his own family which only consists of duos. His brother Alex in return tries to keep Sven by his side through the same methods his parents use.

简介：林日朗（肖央 饰）与妻子阿玲（文咏珊 饰）、儿子小虫（王昊泽 饰）一直过着清贫但幸福的生活，直到儿子小虫突发意外急需救治，几经周折，走投无路的林日朗为了救儿子决定放手一搏。他制定了一个惊天计划.....　　本片改编自电影《迫在眉梢》。

简介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor