当不少人以为《脸庞，村庄》（2018）是华妲退休前最后杰作，她连奥斯卡终身成就奖亦袋袋平安，偏偏俏皮一笑，又交出这部活泼生猛的纪录片。由巴黎、洛杉矶到北京，马不停蹄开班分享创作理念，这位九十岁祖师奶奶不言倦，反正花样年华已被唤作「法国新浪潮祖母」，索性成为影坛万年青。 本尊娓娓道来启发《短角情事》（38 届）的好奇心，《拾穗者与我》（25 届）的细腻观察；至今不辍光影实验，不吝将艺术触觉传承。是为一生回顾展？言之尚早！
大鹏首次执导现实题材文艺片，故事讲述一位喜剧片导演突发奇想，回到东北农村老家，希望将一家人如何过年拍成一部文艺电影，结果遭遇一系列意外。因拍电影而聚齐的家庭成员们，完成了最后的聚会。
阿龙（莫少聪 饰）服刑四年终于出狱，由于对江湖生活心生倦意，阿龙选择龙凤茶楼栖身，但好兄弟垃圾池（周星驰 饰）很快拜访，又让他开始游走在帮派的边缘。为帮垃圾池的舞女情人出头，阿龙邂逅了舞小姐凤（陈雅伦 饰）和June（陈加玲 饰），凤出污泥而不染的气质令阿龙着迷，自此用心追求，不惜付出鲜血代价，终于以诚心抱得美人归。同时，越来越功利化的帮派不再以义气为先，阿龙为保老大坚叔（吴孟达 饰）受伤，却只落得被其他大佬埋怨，不得不以道歉收场，所幸身边还有垃圾池的支持，虽然此人口不择言，总惹凤气闷……阿龙与凤之间的隔阂分歧不仅此而已，这对儿终于走到一起的情侣，还要面临太多的考验……
解放前期的辽东某镇，粮行家的千金小姐山杏，爱上了长工丁大命，但由于身份地位的差距一直没能在一起。国民党守备团奉命在小镇驻守一个军事秘密，共产党领导的游击队奉命了解并破坏这个军事秘密。丁大命由于帮助了游击队员而加入革命队伍，并留守在关家暗中协助游击队完成任务。然而，丁大命在帮助游击队夺取盘尼西林和米粮这两个事件中先是英勇就义，而后却死而复生，这让一直蒙在鼓里的山杏察觉到他的身份，并跟随他加入革命队伍。虽然如此，两个有情人并没有选择在一起，而是为完成各自任务假意嫁娶他人，并共同揭开了守备团驻守的是一个日本遗留军库这个秘密，但为摧毁军库，丁大命在最后的战斗中英勇就义，众目睽睽之下，所有人都认为他不可能还活着之时，丁大命却拄着拐杖一瘸一拐地出现在阳光之下。。
北岛真夜是个平凡的高中生，是一个贫穷家里的小女孩，与在横滨唐人街面店工作的母亲相依为命，与母亲住在中华料理店的二楼，但她不论功课、运动各方面表现都不好，但真夜十分喜爱戏剧，却很有模仿演出的才能，只要是...
在敌后区，德国仍在控制小城。而一个对于德军相当于“眼中钉”的一个组织在秘密行动。三位士兵聚在一 起，庆祝退伍。然而当他们晚上在郊外捕兔子时，无意中打出了使组织的秘密人物飞机降落的暗号。早已得知情报并埋 伏在那的德军实施抓捕行动，但他们还是侥幸逃脱……他们也稀里糊涂地成为了德军全力抓捕的“犹太共济会组织三个 核心人物”……经典喜剧------正太猫
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
剧中女忍们个个身怀绝技，甚至连私密部位都能当作武器。くノ一(发音Kunoichi)即是把女字三个笔划拆开来，通常是小说、动漫作品中，对日本女忍者的称呼;过去幕府时代，女忍会伪装成一般妇女，透过色诱、魅惑等方式，借与男性发生关系而达成任务。用身体完成任务，是女忍的宿命。山田风太郎是撰写忍者小说的名家，光《くノ一忍法帖》就已拍摄成多部电影，而这次的“影ノ月”是该系列的第8部作品，描述女忍者在爱情与使命之间的抉择；由于必须符合女忍的挑逗形象，该剧特别从AV界、写真界选了几位以性感着名的女星，包括森下悠里、西野翔、阿部真里、宫间梨佳等。《くノ一忍法帖─影ノ月》里的性感女忍。在《影ノ月》中，女忍者进行艰苦的修练，将自己的肉体训练成“人间凶器”，不仅可用乳汁做为攻击武器，连下体都能喷出致命毒气，或化作“黑洞”吸收敌人。《くノ一忍法帖─影ノ月》，情色风格不失搞笑。...
11月12日 22-23赛季NBA常规赛 活塞VS尼克斯
DavidWells可以说是活得春风得意。从前过着贫寒的生活的他，现在有着银行职员的的工作，还与一位爱着他的美女订了婚。他们住在一幢漂亮的房子里，有着众多成功、富有爱心的朋友，但其中有一位可能太富有同情心了。David的好友Jack不喜欢自己中阶级的生活，而这种想法缘自一个装作验尸官从尸体上掠取贵重物品的人。David把Jack的观点当作耳边风，还是一如既往地奔赴两年期的评论工作，希望努力工作能换来丰厚薪酬。但意外地，他被解雇了。他的生活会就此崩溃吗？
入殓师袁峰因为过度自卑，常常不被理解遭人白眼，导致极度自闭产生臆想，对自己心爱的女人秋梨也没勇气接近，只能暗中窥视，袁峰把自己臆想成秋梨的老公汉阳，渴望着自己能成为这个成功的男人，拥有这么完美的婚姻，袁峰产出臆想的这段时间里，在他的窥探下，他看到了表面成功的汉阳，内心却是无比黑暗，看到了自己所羡慕的这段爱情，却充满了背叛与欺骗袁峰亲眼看着自己深爱的女人死于非命，他坚持为这个女人的死亡争取一个公道，袁峰在这段为生命追讨公道的事件中，坦然接受自己的缺陷，命运所赋予他的不完美，对于死亡而言微不足道。