簡(jiǎn)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(chǎng)感官的極致盛宴。每一次心跳，都是對(duì)寂寞長(zhǎng)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(kāi)啟屬于你的午夜狂歡。

簡(jiǎn)介：邪惡教授Jacob ten Brinken（埃里克·馮·施特羅海姆 飾）通過(guò)結(jié)合妓女與殺人犯的基因創(chuàng)造出了沒(méi)有道德觀、天性放蕩的人造人美女Alraune（海蒂嘉德·納福 飾），某天夜晚，教授的侄子Frank Braun（卡爾海因茨·伯姆 飾）偶然遇到了Alraune，兩人對(duì)彼此一見(jiàn)鐘情并準(zhǔn)備私奔，為阻止二人，ten Brinken教授將人造人實(shí)驗(yàn)的事情告訴了Frank，被嚇到的Frank獨(dú)自一人前往巴黎。失去Frank后，Alraune的性情變得越來(lái)越輕佻邪惡，她一方面設(shè)計(jì)陷害自己的情敵和家庭教師，另一方面在四個(gè)男人之間周旋：Frank的兩個(gè)朋友Wolfie和Gerold、她的仆人Mathieu以及教授的雇員Mohn醫(yī)生，就在她將一個(gè)又一個(gè)人送向死亡與毀滅的深淵時(shí)，F(xiàn)rank突然回來(lái)了。

簡(jiǎn)介：　　本片主要講述了一對(duì)感情破裂、婚姻即將走向盡頭的夫妻渙喜和樂(lè)麗，通過(guò)一次所謂的“贖罪旅行”以及途中所經(jīng)歷的種種事件之后，并最終化解矛盾、破鏡重圓的故事。故事線索明確，人物關(guān)系復(fù)雜，以渙喜和樂(lè)麗這對(duì)準(zhǔn)離婚夫婦為主要架構(gòu)，隨著劇情發(fā)展不斷帶出感情騙子懷麗、職業(yè)扒手九指、奸商團(tuán)伙賴崇和錢(qián)鼎以及詐騙罪犯牟麗等人物，從不同視角刻畫(huà)出了形形色色的配角形象，折射出了復(fù)雜人性背后潛藏的亂象重生的社會(huì)問(wèn)題。當(dāng)男主人公渙喜自以為只要完成“贖罪旅行”合約，就可以開(kāi)始一段嶄新而美好的感情時(shí)，沒(méi)曾想竟落得個(gè)人財(cái)兩空，他幡然醒悟自己對(duì)于妻子樂(lè)麗的虧欠以及對(duì)于婚姻的不負(fù)責(zé)任。

簡(jiǎn)介：故事講述一個(gè)有“陰陽(yáng)眼”的女孩扣子，在為男友慶生當(dāng)夜，為了擺脫糾纏她的小女鬼而誤傷了自己的男友，失去理智的她開(kāi)車(chē)逃離男友家，卻被突如其來(lái)的暴風(fēng)雨困到一個(gè)雨水淹沒(méi)的橋洞里。積水不斷上漲，滲入車(chē)內(nèi)，車(chē)門(mén)鎖死，扣子打電話求救卻不知身在何方，令她意想不到的是，小女鬼又來(lái)找她索命，絕望的她點(diǎn)燃了油箱……

簡(jiǎn)介：

　　當(dāng)西貢淪陷時(shí)，越南陷入一片動(dòng)蕩不安的局面，巴洛克上校(查克·諾瑞斯 Chuck Norris 飾)的妻子琳是越南人，她陽(yáng)陰錯(cuò)差來(lái)不及撤退，卻讓巴洛克誤以為她已被炸死，只有傷心地坐直升機(jī)回美國(guó)。十二年之后，一位來(lái)自越南的牧師告訴他，琳和他的兒子還活著，生活十分清苦，于是決定他獨(dú)自前往越南去拯救妻兒。

簡(jiǎn)介：Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's Staroye I Novoye.　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls.　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, Staroye I Novoye, is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ).　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with Staroye I Novoye. The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel ARTE, natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests.　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

簡(jiǎn)介：二十多年前，臺(tái)灣辦桌界有三大傳奇總鋪師稱霸北、中、南，分別為憨人師、鬼頭師與蒼蠅師，鄉(xiāng)民們尊稱為“人、鬼、神”三霸。隨著時(shí)代變動(dòng)，辦桌文化終于逐漸式微，人鬼神凋零。蒼蠅師想將家傳手藝交給獨(dú)生女詹小婉，誰(shuí)知小婉只想當(dāng)明星，美美的出現(xiàn)在螢光幕前。但一心想逃離油煙血水的小婉，卻被迫面對(duì)巨大的挑戰(zhàn)和使命。