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)簟Ｌ剿魑粗?，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：利用基因改造的蝗蟲(chóng)從美國(guó)中西部一處高度機(jī)密的研究機(jī)構(gòu)中逃脫了，它們展開(kāi)一場(chǎng)舐血的瘋狂食人之戰(zhàn)。一群專(zhuān)家開(kāi)始想辦法撲滅這些蝗蟲(chóng)，再晚一步，若是蝗蟲(chóng)的聲勢(shì)與數(shù)量持續(xù)擴(kuò)大，恐怕無(wú)人能幸免。

簡(jiǎn)介：鄧巴中尉（凱文?科斯特納 Kevin Costner 飾）在南北戰(zhàn)爭(zhēng)中立了大功，政府為了褒獎(jiǎng)他，給了他任意選擇駐地的特權(quán)。鄧巴渴望著一種全新的生活，于是選擇了遙遠(yuǎn)偏僻的西部哨所塞克威克。這里住著大量的印第安蘇族人?！　∫婚_(kāi)始蘇族人把他的到來(lái)有著抗拒，當(dāng)鄧巴主動(dòng)接近和了解他們的生活，并搭救了一個(gè)從小在蘇族長(zhǎng)大的白人少女后，族人和他之間的關(guān)系開(kāi)始回暖。他得到了一個(gè)印第安名字：與狼共舞。鄧巴的騎術(shù)讓族人驚嘆，他的善良被大家稱(chēng)贊，和白人少女也日久生情。一次對(duì)抗外族入侵的戰(zhàn)爭(zhēng)中，鄧巴更是被封為了蘇族人的民族英雄?！　∪欢R背文化的沒(méi)落已成必然，白人士兵來(lái)到這片土地，驅(qū)趕蘇族人，捕捉“叛徒”鄧巴，這片樸實(shí)的土地慢慢改變了容顏……

簡(jiǎn)介：Luisa has a habit of bringing her dates home, irritating her son, Cesar. When Cesar invites his best friend Pablo over for a sleepover, Luisa's flirtations become too much to bear, especially as Cesar has his own feelings towards Pablo.

簡(jiǎn)介：在土耳其最古老的動(dòng)物園里，一位孤獨(dú)的管理員和一位孤僻的女官員結(jié)成了一種不可思議的關(guān)系：他們一起隱瞞了動(dòng)物園里最老的居民——一只安納托利亞豹已經(jīng)死亡的消息。他們謊稱(chēng)豹子已經(jīng)逃走，這一切都是為了阻止動(dòng)物園私有化。荒謬失控的局面一發(fā)不可收拾。在土耳其死氣沉沉的首都，這只豹子的靈魂徘徊不散。

簡(jiǎn)介：Venezuela's economic crisis explodes into riots on the streets of Caracas, as middle-aged Roque heads for the Amazon jungle to revive the abandoned lodge he built during happier, healthier days. As the jungle closes in on him, good friends encourage bad habits and whisper promises of finding gold.

簡(jiǎn)介：在20世紀(jì)60年代的南方腹地，一名男子在與自己過(guò)去的恥辱作斗爭(zhēng)的同時(shí)，作為一名丈夫和父親，他在自己的酗酒和復(fù)雜的家庭動(dòng)態(tài)中掙扎。

簡(jiǎn)介：A great spanish cult movie!!　　This is one of the most astonishing films ever made. It has some scenes that it should be in the history of cinema. Like the filming by Fernando Fernan Gomez of the militias using a big roll of paper to win a positions. Or the begging of the film based on real events. The birth of the director inside the carp where the first cinematographer was showing the train arriving to the station. Being shoot in really simple way it's amazing the proper use of the audiovisual language. The late Guillermo Cabrera Infante showed this film in a Canadian film festival in Spanish without subtitles when the projection finish the audience didn't move and they ask for seen the film again. The effect of this film in the audience is unbelievable. None a single person that has seen this rare Spanish movie could forget it. Except the main actor Fernando Fernan Gomez who never remember work on it.

簡(jiǎn)介：A businessman mysteriously wakes up in an open-air prison cell with only an old grist mill. Forced to work as a beast of burden, he must find a way to escape before the birth of his child.

簡(jiǎn)介：劇情簡(jiǎn)介　　這是一部散文式的電影，表現(xiàn)的是生命在人群里的心靈孤單，影片通過(guò)時(shí)空交叉的手法，在看似雜亂無(wú)章的情節(jié)里以一個(gè)槍支經(jīng)銷(xiāo)商、一伙藝術(shù)品小偷、一幫瘋狂的老男人、一個(gè)壓抑的警察以及形形色色的怪人因?yàn)橐环槐I的19世紀(jì)的油畫(huà)和一個(gè) 18 世紀(jì)破損的陶瓷餐盤(pán)落和入不同人手中的產(chǎn)生的不同故事，帶出導(dǎo)演對(duì)藝術(shù)和生命偶然性的思索，導(dǎo)演讓這種戲劇性匆忙了黑色幽默和人性的絕望，有著一種對(duì)流逝莫名的傷懷和法國(guó)電影特有的藝術(shù)情趣?！　∧缓蠡ㄐ酢　∮捌?xún)?yōu)雅的弦樂(lè)四重奏貫穿全劇和電影里險(xiǎn)惡、卑微的人性的產(chǎn)生了鮮明的戲劇沖突。影片開(kāi)始于18世紀(jì)同樣結(jié)束于這個(gè)年代，影片以黑白畫(huà)面表述18世紀(jì)女模特在畫(huà)室的場(chǎng)景有著關(guān)于藝術(shù)永恒的追憶，而被砸碎的瓷盤(pán)則有著逝者如斯的感懷。影片以跳切手法剪接對(duì)觀(guān)眾理清頭緒是個(gè)考驗(yàn)?！　∑永飳?dǎo)演以殘?jiān)珨啾诤婉R蹄下的碎瓷表明了戰(zhàn)爭(zhēng)對(duì)于藝術(shù)的無(wú)情踐踏和損害。同樣抽煙的孩子，爭(zhēng)奪出租車(chē)的人們這些市井的場(chǎng)面是導(dǎo)演對(duì)當(dāng)下法國(guó)人文環(huán)境的看法，有些細(xì)節(jié)十分有意思，那般狂人炸了街心花園后，警察局里按部就班傳遞公文的滑稽鏡頭是隱喻性的。同樣，槍支經(jīng)銷(xiāo)商和他妻子舉辦沙龍，兩人在客人面前的溫文爾雅和客人走后各進(jìn)各的房間和情人幽會(huì)的場(chǎng)面是對(duì)中產(chǎn)階級(jí)虛偽假面的批判和辛辣諷刺。導(dǎo)演以寥寥幾個(gè)劃出鏡頭就已經(jīng)表現(xiàn)了這類(lèi)沙龍的造作和乏味，而經(jīng)典的場(chǎng)景是出現(xiàn)在夫婦倆送客以后，各自回房各自偷歡，所以好的影像是可以通過(guò)畫(huà)面本身說(shuō)話(huà)的?？此屏鑱y的場(chǎng)面里有著作者對(duì)于歷史和人生的獨(dú)到見(jiàn)解。電影隱晦指證了資本主義婚姻的虛假，特別是警察局探長(zhǎng)家里自己家孩子一起抽煙的場(chǎng)景有著對(duì)次序維護(hù)者的疑問(wèn)，通過(guò)這些無(wú)人管束的孩子反映著成人世界的隔閡和偽善。同樣通過(guò)槍械商人家的興衰反映了人就是歷史過(guò)客的主題，能夠留存的是藝術(shù)品本身的價(jià)值，而不是藝術(shù)品占有者的名聲。　　影片情節(jié)安排上也是比較巧妙的，孩子們?cè)诮诸^玩耍將玻璃片放在汽車(chē)輪胎下為此后追捕時(shí)槍械商人的束手就擒形成了必然的聯(lián)系。影片最后許多主人公因?yàn)楦鞣N原因被殺了，一方面表示了當(dāng)代社會(huì)的動(dòng)蕩，另一方面又反襯了人是過(guò)客的主題。　　影片結(jié)尾有著法式的憂(yōu)傷，那代表著歷史傳承的老屋被推土機(jī)推倒，而黑白影像里前人的優(yōu)雅只是記憶里的，導(dǎo)演在這部影片以瓷盤(pán)和一幅畫(huà)在不同人手中的輪回，譏諷了人的貪念和偶然性里人的無(wú)奈。用一個(gè)物件作為線(xiàn)索貫穿整部電影的有很多，比如中國(guó)的早期影片《壓歲錢(qián)》，但是，能夠從中讀解出深層人文意義的，此片導(dǎo)演的藝術(shù)見(jiàn)地?zé)o疑是高明的，此片是導(dǎo)演第一部法文影片，它在優(yōu)雅的姿態(tài)下隱喻了生命的逝去…影片以它深刻的人生寓意而獲1984年威尼斯電影節(jié)特別評(píng)審團(tuán)大獎(jiǎng)

簡(jiǎn)介：Married carnival performers are subjected to the abuses of their employer in this silent film gem that has not received as much attention as it deserves. When the boss' unwanted advances on the wife are refused, he taunts a lion until it nearly kills her. But the other performers assist in a unique plot for revenge. Jaque Catelain directs and stars in this film made for influential French director Marcel L'Herbier's production company. Some sources also list L'Herbier as co-director, as he is credited here. The film boasts some rapid-fire editing techniques that were decades ahead of its time.

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