致命請柬BD國語中字1024高清

　　宅男遇上被遺棄的狗狗，一起度過溫暖又充滿愛的時光。　　被未婚妻無情拋棄的赤西民夫（田中圭 飾）每天意志消沉，上司為了讓他重新振作，送了一隻同樣被主人拋棄的大白狗給他領養。曾被主人欺負的大白狗沒法汪汪吠叫，只能發出“haw”的叫聲，於是民夫為他取名“小巧”。兩個曾被遺棄的靈魂，慢慢為對方打開心扉，一人一狗成了影形不離的夥伴。正當民夫的心靈創傷快要被治癒好時，小巧卻意外走失，四處流浪，為沿途遇上的失意人奉上最溫暖的陽光。

　　｜成長雖是連續的過程，卻又只是一瞬之間。｜　　即將改建的老房舍裡，住著兩兄弟和他們的父親。父親總是嚴厲、難以親近，而弟弟盡責地擔任哥哥的跟屁蟲，他知道無論發生什麼事，哥哥永遠和他站在同一邊。一天又一天，生活如此安靜，彷彿永遠不變，卻在某個夏日午後，時間悄悄帶來屬於成長，幽微而神秘的片刻。

一名松露獵手(凱奇飾)獨自居住在俄勒岡州的野外，當他心愛的覓食豬被綁架後，他必須前往波特蘭，帶著自己被拋棄的過往，去拯救那隻豬。

舞龍鬧元宵的現場發生一起命案。舞獅隊師徒之間的一段愛恨情仇也隨之暴露。陳亨利馬上下令封鎖現場，因為裘振海最後死亡時，龍陣就像蛇盤一樣，團團的將他圍住，所以兇手一定就是這個龍陣的某個人……

阿里斯塔雷恩90年代的電影代表作. 《世界上的某個地方》無疑是具有傳奇色彩的一部阿根廷影片, 不僅因為它的影片質量和藝術性上乘, 而且因為它獨一無二的傳奇經歷. 1992年, 阿根廷電影協會本來把此片...

　　20世紀80年代，中亞國家阿富汗陷入連綿的戰火之中。國家飽受摧殘，人民流離失所。無情的轟炸摧毀了老人達斯塔戈（阿卜·拉賈尼 Abdul Ghani 飾）所在的村莊和家園，他的親人幾乎全部遇難，只有5歲的孫子亞辛（賈溫·馬德·何馬翁 Jawan Mard Homayoun 飾）倖免於難，卻也被爆炸聲震聾了雙耳。老人強忍著悲痛，帶著孫子前往遠方的礦區尋找兒子，要告訴他家中所遭遇的厄運。死者長已矣，生者卻仍要在漫漫長路上奔波勞頓……　　本片根據導演阿提克·拉希米（Atiq Rahimi）的同名小說改編，並榮獲2004年斯洛伐克布拉迪斯拉發國際電影節最佳導演獎和評委會獎、2004年戛納電影節Regard Original獎、2004年根特港國際電影節最佳導演獎、2005年比利時法蘭德斯國際影展銀刺獎、第六屆印度亞洲電影節最佳影片和最佳男主角獎（Abdul Ghani）。

寂寞，是火車疾駛而過的風景顫動，也是火爐散發的灼熱觸感；一景一物，在慕勒的固定鏡頭、精準構圖與鬱蒼色調下，瀰漫沉重孤寂感，映照瑪莉安的內心世界。因突然覺醒丈夫會離她而去，瑪莉安決定先行拋棄他，與孩子在巴黎鄉郊展開獨立生活，在翻譯福樓拜的著作中尋覓到自由與喜樂，在悠悠天地重新發掘自我。由雲溫達斯監製，《歧路》（1975）、《柏林蒼穹下》（1987）的編劇彼得漢奇首執導筒，親自將同名小說搬上銀幕，拍出女性擺脫喧鬧世界的倥傯。孤獨，也可以是一種選擇。

HardenedDEAagent,Cole,descendsintothedangerousunderworldofTijuana,Mexicoinsearchofhisjournalistex-wifewhohebelieveshasbeenabductedbyacharismaticCartelbosswithaspirationsforpublicoffice.

以《百元之戀》獲得日本學院獎最佳編劇等諸多獎項的足立紳，將自己的半自傳體小說《窩囊廢日記》搬上了銀幕。本片是關西小杰尼斯團體“Boys be”成員池川侑希彌初登銀幕之作，以昭和末期某個地方小鎮的7個6年級男生為主角，描繪了他們的一段充滿歡笑、淚水、糾葛、挑戰的少年時代。有別於那些帶著光暈、略顯蒼白的同類作品，足立紳以一種近乎坦率的姿態與青春“直球對決”，直接、生猛，充滿力量。足立紳還在片中使用了傳奇導演相米慎二的招牌長鏡頭，向這位曾經的恩師致敬，也捕捉到了少年們最生動鮮活的完美狀態。

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.

在金融中心如矣島從事股票基金工作的黃宇真外表光鮮，但生活究竟怎樣苦樂自知。從小獨自撫養他長大的父親病重在床，巨大的生活壓力令他不得不向高利貸借款，卻又似乎背上更為沉重的包袱。在此期間，他和妻子的關係逐漸冷淡，並出現裂痕；而老實木訥的他在公司又受到部長和後輩排擠，面臨被裁員的命運，

一名松露獵手(凱奇飾)獨自居住在俄勒岡州的野外，當他心愛的覓食豬被綁架後，他必須前往波特蘭，帶著自己被拋棄的過往，去拯救那隻豬。

電影《緣·夢》講述了幾個年輕人完成夢想的故事，幾個年輕人懷著同樣的想法同時回到了小山村，經過幾個鮮活的城市元素注入之後，傳統的農村出現了新的氣息。一場傳統觀念與現代理念之間沒有硝煙的戰爭開始碰撞產生火...

　　曾經的繁華榮耀，隨著時光流轉與時代變遷漸漸褪去耀眼的光環，留下的則是無盡的落寞與慨嘆。420廠（成華集團），一座從東北遷至四川的飛機軍工廠，在特殊的年代裡它曾是無數人羨慕與自豪的所在，然而和平的氣息和體制改革卻將它的光鮮逐漸銷蝕。經濟浪潮的衝擊下，它不可避免地經歷了轉型的陣痛，而今舊廠址易作他主，一片現代化的樓宇將拔地而起。　　大麗（呂麗萍 飾）、小花（陳沖 飾）、娜娜（趙濤）以及眾多新老員工見證了廠區幾十年的變遷。鬥轉星移，滄海桑田，萬千唏噓連同那舊日回憶隨風飄散……