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)擊開啟屬于你的午夜狂歡。

簡(jiǎn)介：

　　小學(xué)老師喬治（Paul Rudd飾）與社工妮娜（Jennifer Aniston飾）在一次社交晚宴上認(rèn)識(shí)，喬治從妮娜那里驚悉自己被同性戀伴侶拋棄的消息，傷心不已。然而除卻感情上的打擊，他還不得不從同住的家中搬走，一時(shí)間毫無著落的他狼狽萬分。好心的妮娜讓喬治在自己的公寓中暫住，漸漸地，二人成為無所不談的好朋友。妮娜也正發(fā)現(xiàn)自己與男友原來不相襯，盡管已經(jīng)懷孕，還是果斷地分手。妮娜聽說喬治中學(xué)時(shí)曾經(jīng)與女孩有過性關(guān)系后，也想親身上陣勾引。誰知喬治的男友回頭，打斷了這一段鴛夢(mèng)。
　　然而喬治還是妮娜最理想的、養(yǎng)育自己孩子的父親。

簡(jiǎn)介：

　　米歇爾·阿扎納維西于斯([藝術(shù)家])新片[消失的王子](The Lost Prince，暫譯)，由奧瑪·希、貝熱尼絲·貝喬主演。故事圍繞父親Djibi展開，他告訴7歲女兒索菲亞一個(gè)名為“童話世界”的奇幻電影制片廠。他本人扮演白馬王子。五年后女兒長(zhǎng)大，而Djibi必須要去維持在女兒人生中的英雄形象。本片拍攝周期為7月30至10月5日，將在戛納電影市場(chǎng)上尋找國(guó)際買家。

簡(jiǎn)介：

　　來到巴黎辦事的于勒先生（雅克·塔蒂 Jacques Tati飾）初入巴黎就被超級(jí)現(xiàn)代化的世界博覽會(huì)大樓所震驚。于勒先生很快就迷失在這座嘆為觀止的高科技大樓中，精妙絕倫的最新先進(jìn)設(shè)備、流光溢彩的博覽會(huì)景觀以及來自世界各地的游客和顧客，都讓于勒先生大開眼界。當(dāng)于勒先生終于想起要去找辦事的人時(shí)，天已漸黑。談完公事，于勒先生來到了剛剛裝修好的夜總會(huì)。午夜魅影，恍如白晝，里面的男男女女興致正高。自然，于勒先生也加入了他們的狂歡隊(duì)伍。于勒先生更一時(shí)興起，把剛剛裝修好的屋頂裝飾弄了下來，屋內(nèi)一片狼藉。怎知客人們非但沒有覺得掃興，反而玩得更加瘋狂。旦夕之間已是清晨，狂歡一夜后的巴黎別有一番韻味。
　　由法國(guó)著名喜劇導(dǎo)演雅克·塔蒂自編自導(dǎo)自演的喜劇影片《玩樂時(shí)間》，用一種接近單色的色調(diào)和70毫米的巨大畫卷，將鋼筋玻璃世界的冷酷轉(zhuǎn)化成格格不入的超現(xiàn)實(shí)影像。本片幾乎沒有對(duì)白，但巧妙的運(yùn)用了音效，加上演員肢體動(dòng)作的表現(xiàn)，有著較為濃厚的早期默片風(fēng)格。

簡(jiǎn)介：

　　一個(gè)有抱負(fù)的女演員與她的未婚夫協(xié)議用脫衣舞娘的工作來救治她的癌癥的父親，一旦協(xié)議失效，他們的生活將永遠(yuǎn)改變。

簡(jiǎn)介：　　《臘月》是一部反映農(nóng)村現(xiàn)實(shí)生活的半記錄式影片，主要講述了魯西南農(nóng)村在農(nóng)歷十二月份（臘月）發(fā)生的一些事情。該片取材于農(nóng)村，講述了彩禮已從原來的“習(xí)俗”漸漸演變?yōu)楫?dāng)今“陋習(xí)”。高額彩禮下人們扭曲的價(jià)值觀、世界觀，攀比心、虛榮心等。無數(shù)家庭飽受“高額彩禮”的困擾，儼然成為一種不可忽視的社會(huì)現(xiàn)象。

簡(jiǎn)介：　　年輕貌美的單身母親李美華，用盡自己的積蓄開了一家婚紗店，不幸的是開業(yè)的前一天婚紗店發(fā)生火災(zāi)，李美華雇傭的兩名店員葬身火海，從此，李美華踏上讓兩個(gè)失去親人的家庭寬恕自己的人生路。影片取材于臺(tái)灣著名演員高金素梅(曾出演李安的成名作《喜宴》)的真實(shí)經(jīng)歷。編劇經(jīng)過藝術(shù)加工，將故事背景移植到大陸，主題立意強(qiáng)調(diào)一個(gè)人應(yīng)有的良知與責(zé)任。

簡(jiǎn)介：　　位于深山小鎮(zhèn)的理發(fā)店發(fā)生的一系列靈異奇聞，殷果兒、任青安、姜星丘等人陷入危難絕境中無法脫身，和理發(fā)店有關(guān)聯(lián)的人物接連被慘絕殺害，血腥殘暴引來人心惶惶，而抽絲剝繭之后的真相更加令人心驚膽戰(zhàn)。

簡(jiǎn)介：Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop　　Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.　　The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.　　Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.　　However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.

簡(jiǎn)介：

當(dāng)晚宴上有一個(gè)奇怪的，神秘的人工制品被共享時(shí)，導(dǎo)致一群老朋友質(zhì)疑他們的忠誠(chéng)度，最后是他們的理智，這是一部卑鄙的話劇，一部是超現(xiàn)實(shí)的恐怖片，“東西掉了”。

簡(jiǎn)介：

一位老婦人的女兒送給她一只名叫巴克斯特的白色斗牛犬。隨著時(shí)間的推移，這只狗為了被另一個(gè)家庭收養(yǎng)，變得具有攻擊性和殺人行為。

簡(jiǎn)介：

　　Stan厭倦警察生涯，計(jì)劃開展新生活，與好友開設(shè)酒店經(jīng)營(yíng)。無奈目睹好友被槍殺，Stan 重投警隊(duì)行列，誓要以暴易暴...