簡介：夜深人靜，白日的束縛悄然褪去，是時(shí)候迎接真實(shí)的自己。在這里，我們?yōu)槟鷾?zhǔn)備了一場感官的極致盛宴。每一次心跳，都是對(duì)寂寞長夜最有力的回?fù)?。探索未知，體驗(yàn)前所未有的私密與刺激。別再壓抑，點(diǎn)擊開啟屬于你的午夜狂歡。

簡介：

杰里·宋飛時(shí)長一小時(shí)的全新特輯《杰里·宋飛：23小時(shí)找樂子》鞏固了他單口喜劇界巧匠的聲譽(yù)。該特輯于2020年5月5日在 Netflix 獨(dú)家上映，記錄了宋飛在紐約燈塔劇院的一場壯觀演出，并展示了他對(duì)日常生活的敏銳觀察，揭示了平日里的喜劇元素。

簡介：寂れた溫泉街を舞臺(tái)とする本作は、彫師の郵便配達(dá)員?鷹巣明と戀多き詩人“ペンギン”、そしてペンギンのファンである“月夜の星”の三角関係を描く物語。

簡介：《木偶》講述了一個(gè)治療師的故事，當(dāng)一個(gè)十歲的男孩聲稱他可以控制她的未來時(shí)，她失去了對(duì)現(xiàn)實(shí)的把握。

簡介：Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007　　Author TimothyFarrell from Worcester, MA　　Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.　　The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610)　　-from imdb

簡介：二十年來，般奴和馬力克生活在一個(gè)不同的世界當(dāng)中，那是一個(gè)屬于患自閉癥的兒童和青少年的世界。他們二人分別管理The Hatch The Shelter兩個(gè)非牟利機(jī)構(gòu)，目標(biāo)在貧困地區(qū)培訓(xùn)年青人擔(dān)任守護(hù)工作，負(fù)責(zé)照顧一些被其他機(jī)構(gòu)拒于門外的重度患者個(gè)案。這非傳統(tǒng)的合作關(guān)系展現(xiàn)了非一般的人生。

簡介：

事業(yè)有成的青年女企業(yè)家芊芊在出差途中私人飛機(jī)遭遇氣流，飛機(jī)發(fā)生了事故掉入海中，她醒來后成了古代的妙善公主。在這里以石妖為首的妖魔肆意作惡，芊芊救下了韋將軍，并與韋將軍、妙善的未婚夫青冥、神箭手烏尤和祭司玄幻組成了除妖團(tuán)隊(duì)，前往無稽山尋找傳說中克制石妖的法器枯木法杖。青冥看不慣韋將軍對(duì)芊芊熱情，兩人時(shí)時(shí)針鋒相對(duì)，在芊芊的費(fèi)力安撫兩人才摒棄前嫌。眾人在磨難中成長，團(tuán)隊(duì)的凝聚也逐漸加強(qiáng)，歷盡千辛萬苦后，最終拿到了法器。石妖得知后，設(shè)計(jì)殺害烏尤和玄幻，毀了法器。芊芊在悲痛中感悟到博愛眾生不是殺妖除惡，而是以佛心收伏其心魔。芊芊直面石妖，犧牲自我解除了石妖心魔。芊芊也回到了現(xiàn)實(shí)，對(duì)生活也有了新感悟。

簡介：

影片最初的場景中，故事里的人物進(jìn)入一個(gè)孩童的夢(mèng)，試圖通過尋找夢(mèng)境中陌生且熟悉的記憶影像，回到童年。 　　影片以導(dǎo)演私人化的記憶出發(fā)，靜態(tài)影像來自導(dǎo)演回到童年生活的村莊拍攝的圖像和舊時(shí)膠片，透過夢(mèng)境中記憶與當(dāng)下互相滲透，從而探索“人”在心理層面如何處理創(chuàng)傷。

簡介：

歐陽萬成，來自香港的美國華裔演員，在西雅圖海王星劇院帶來了他的單口喜劇專場脫口秀。

簡介：《咒怨》導(dǎo)演清水崇執(zhí)導(dǎo)的“恐怖村”系列電影第三彈《牛首村》發(fā)布海報(bào)，并宣布由木村拓哉的女兒木村光希主演，這也是她的大銀幕出道！　　和系列前作《犬鳴村》《樹海村》一樣，《牛首村》靈感也源自真實(shí)存在的靈異場所，這次聚焦日本北陸地區(qū)的怪談事件。

簡介：　　Five haunted-house enthusiast friends are still trying to recover from the trauma of being kidnapped the previous Halloween by the Blue Skeleton — a group who takes “extreme haunt” to another level. They decide to face their fears in order to move on and go back out on the road to find more haunted houses. However, ominous signs of the Blue Skeleton start appearing again…

簡介：《去死吧！啦啦隊(duì)》美國導(dǎo)演克里斯席維森重返金馬奇幻影展的新作《愛的怪物論》，邀來《阿達(dá)一族》超酷女孩「星期三」克莉絲汀蕾琪領(lǐng)銜主演，當(dāng)年鬼靈精怪的少女成了飽受風(fēng)霜的單親媽媽，帶著兒子遠(yuǎn)赴邊陲小鎮(zhèn)重新開始，原以為新生活就要展開，沒想到這次不僅要面對(duì)自己的心魔，還要挺身抵抗真正的「怪物」。影片巧妙致敬《迷魂記》與《剃刀邊緣》，更被美國影評(píng)譽(yù)為對(duì)怪物類型電影做出全新的演繹。