主演：宮崎駿 鈴木敏夫 高畑勛 久石讓 米津玄師 菅田將暉 木村拓哉 柴崎幸 愛(ài)繆 瀧澤凱倫 小林薰 木村佳乃 山時(shí)聰真 火野正平 片山一良 本田雄 米林宏昌
導演：荒川格
簡(jiǎn)介：紀錄片《與宮崎駿和吉卜力工作室的2399天》將于今晚在日本NHK臺播出，將展現他們?yōu)榱恕赌阆牖畛鲈鯓拥娜松返闹谱髋^斗的七年。
主演：路易·曼迪勒 維他亞·潘斯林加姆 羅恩·斯穆安伯格
導演：Joshua Dixon
簡(jiǎn)介：Ready to leave his profession behind, Loreno, an assassin, lends help to an old friend, Cetan, and taking one last job in Thailand seeking out a local kingpin. A judgment lapse violently crosses paths with an old colleague Paul.
主演：Kevin Fong
導演：未知
簡(jiǎn)介：Dr Kevin Fong tackles moral questions surrounding death that face not just the medical profession, but each and every one of us. Throughout the programme, he meets medical professionals who are at the heart of the dilemmas surrounding our attempts to defeat death and live as long as possible, as well as people who are facing up to the question of how to die a better death.
主演：克里斯托弗·瓦爾茲 威廉·達福 瑞秋·布羅斯納安 本杰明·布拉特 哈米什·林克萊特 蓋·布耐特 布蘭登·斯考特 J.D. Garfield Rocko Reyes Shawn-Caulin Young Herman Johansen 杰克莫·巴澤爾 路易斯·查韋斯 Gabriela Alicia Ortega Warren Burke 斯科特·皮特 戴安娜·維利加斯 阿爾弗雷多·奎羅斯 Fidel Gomez
導演：沃爾特·希爾
簡(jiǎn)介：The film follows a famed bounty hunter who runs into his sworn enemy, a professional gambler and outlaw that he had sent to prison years before.
主演：喬宏 陳嘉輝 梁榮忠 魏駿杰 黎美嫻 巫奇
導演：關(guān)信輝
簡(jiǎn)介：世紀末的香港，整個(gè)社會(huì )瀰漫著(zhù)一股低迷的氣氛，自殺事件頻傳，許多人陷入經(jīng)濟、家庭或情感的困境中，無(wú)助而沮喪?！ ∫幻苑Q(chēng)天使奇俠（喬宏飾）的男子，手持生命探測器出沒(méi)在仁心醫院，尋找一些因患絕癥而感到絕望無(wú)助、有輕生念頭的人，他為垂危的病人帶來(lái)福音、喜樂(lè )和希望，不少垂危的病人因此而奇蹟式地康復?！ √焓蛊鎮b的出現，引起了傳媒的關(guān)注。INN新聞臺的資深記者Angel和其助手大虹，被上級調派為「奇俠事件」作深入追蹤報導?！ 〈蠛绲暮糜袹oe也一同參與了此次調查行動(dòng)，自小陶醉於天使 神話(huà) 的Joe，在追尋真相的過(guò)程中，發(fā)現了父親不為人知的故事，也領(lǐng)悟到原來(lái)心中的神話(huà)不只是神話(huà)，真正的天使就在自己眼前…… 原來(lái)大家一直不停尋找的天使，早已深入每個(gè)人的心中……
主演：黛安·克魯格 馬修·卡索維茨 瑪爾塔·涅托 阿蜜拉·卡薩 格里高利·菲托西 艾樂(lè )蒂·納瓦 Adrien Malvoisin Laurent Marion Romain Fleury Paco Perez Hugo Possamai Pierre Lebrun Benjamin Lauff Marc Prin 亞歷珊德拉·耶爾馬克 娜塔莉·理查德 菲利普·梅馬特 Solène Cornu Charlotte Darragon Christophe Istier
導演：雅恩·戈斯蘭
簡(jiǎn)介：The story revolves around Estelle, an incomparably professional long-haul pilot/captain who leads a perfectly structured life alongside her loving and protective husband Guillaume. Everything seems to be going well, although the endless flights and bouts of "jet lag" are beginning to upset the young woman’s biorhythms, especially her sleep. One day, in a corridor in Nice airpor...
主演：斯科拉·魯特 費德賈·范·胡艾特 Sepp Ritsema Lola van Zoggel Vincent van der Valk Janni Goslinga Harpert Michielsen 蒂內·朱斯特拉 Hannah van Lunteren Nola Frensdorf Bo Tarenskeen Truus te Selle Steven Hooi Rochelle Deekman 羅塞塔·羅斯·德倫特 Casper Gimbrère Evalinde Lammers Hylke van
導演：馬丁·德容
簡(jiǎn)介：A close-knit family is disrupted when the father fails to resurface during a professional dive. No funeral, no goodbye, just a house full of memories. Burdened by the elusive loss, Merel evades her husband's death and everything related to it. Her young children become entangled in their search for answers, eventually bringing the family to a hard stand. Merel has no choice but...
主演：羅伯特·阿姆斯特勒 Ian Dalziel Robert Koroluck
導演：雷納·佩雷斯
簡(jiǎn)介：Wolfgang, a professional mercenary for hire is thrust in the middle of a local dispute when hired by a wealthy benefactor. But when he develops a friendship with a young orphan and a local tour guide, he is torn between molikan.com his loyalty to violence for money, and righting wrongs in the name of innocents.
主演：鄭在光 Seungkil Jung Kyu-Sung Lee
導演：李鐘剛
簡(jiǎn)介：Gwangho, a prospect on his high school baseball team, is not drafted by a professional baseball team. His desire to continue playing baseball strains his relationship with his team members. Gwangho eventually begins selling fake gasoline with his friend Mincheol.
主演：湯米·弗拉納根 Mandy Matthews William Eadie Michelle Stewart Lynne Ramsay Jr. Leanne Mullen John Miller Jackie Quinn James Ramsay Anne McLean Craig Bonar Andrew McKenna Mick Maharg James Montgomery Thomas McTaggart
導演：琳恩·拉姆塞
簡(jiǎn)介：故事發(fā)生在1973年的格拉斯哥，對于男孩詹姆斯（威廉·艾迪 William Eadie 飾）來(lái)說(shuō)，這個(gè)夏天并不好過(guò)，炎炎的烈日讓人怎么都打不起精神，而清潔工人的大罷工讓街道瞬間變成了堆滿(mǎn)了腐臭垃圾的垃圾場(chǎng)。當然，這些都不是最重要的，最讓詹姆斯寢食難安的是自己的朋友賴(lài)安（Thomas McTaggart 飾）的死亡，是他的死和自己有著(zhù)千絲萬(wàn)縷的聯(lián)系?！ ⊥高^(guò)詹姆斯的眼睛，我們看到了骯臟不堪的世界，但同時(shí)，他茫然躊躇的目光里依然飽含著(zhù)對未來(lái)的憧憬和對愛(ài)的渴望。在誰(shuí)也不知道的地方，一顆幼小的靈魂不斷的被痛苦糾纏著(zhù)，磨礪著(zhù)，作為代價(jià)，它將綻放出最最讓人驚詫的純凈光芒。
主演：未知
導演：居伊·德波
簡(jiǎn)介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...? Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life? can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
主演：Mukesh Agrohari Olga Anand Rohan Apte
導演：Amole Gupte
簡(jiǎn)介：The story of Saina Nehwal, a professional badminton player who ranked number 1 in the sport.
主演：Sergey Romanovich Sergey Podolny Kirill Degtyar
導演：Eduard Bordukov
簡(jiǎn)介：影片描述了熱愛(ài)足球的孩子們因為足球運動(dòng)精神解決矛盾、誕生友誼并且得到了成長(cháng)。
主演：Sergey Romanovich Sergey Podolny Kirill Degtyar
導演：Eduard Bordukov
簡(jiǎn)介：影片描述了熱愛(ài)足球的孩子們因為足球運動(dòng)精神解決矛盾、誕生友誼并且得到了成長(cháng)。
主演：Kevin Fong
導演：未知
簡(jiǎn)介：Dr Kevin Fong tackles moral questions surrounding death that face not just the medical profession, but each and every one of us. Throughout the programme, he meets medical professionals who are at the heart of the dilemmas surrounding our attempts to defeat death and live as long as possible, as well as people who are facing up to the question of how to die a better death.
主演：萊西·沙伯特 比妮·費爾德斯坦 簡(jiǎn)·林奇
導演：未知
簡(jiǎn)介：A curious 11-year-old who seeks to learn everything about anything in order to pursue her dreams of becoming a professional writer.
主演：盧克·羅伯茨 布蘭頓·杰·麥克拉倫 納齊恩·康特拉科特 Karen LeBlanc 娜塔莉·布朗 埃曼紐爾·卡邦戈 Derek Moran
導演：Eleanore Lindo James Genn 斯特拉·古納遜 保羅·?？怂?nbsp;Charles Officer 愛(ài)普洛·馬倫
簡(jiǎn)介：CBS早前預訂《X檔案 The X-Files》制片人Frank Spotnitz的劇集《贖回 Ransom》，由在《黑帆 Black meijubar.net Sails》飾演Woodes Rogers的Luke Roberts主演。該劇自14年開(kāi)始開(kāi)發(fā)，與法國﹑德國及加拿大合作拍攝。而現在有Sarah Greene﹑Brandon Jay McLaren﹑Nazneen Contractor加盟該劇 該劇是根據有豐富經(jīng)驗的危機談判專(zhuān)家Laurent Combalbert及Marwan Mery的經(jīng)歷得到靈感；預訂了13集的新劇《贖回》，講述危機及人質(zhì)談判專(zhuān)家Eric Beaumont（Luke Roberts飾），他十分了解罪犯的行徑，能洞悉人類(lèi)行為的他從各種困難的綁架﹑勒索案件中找到解決辦法。盡管是危險的賭博，但他決心即使面對世界上各危險罪犯時(shí)...
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