被遗忘的童年游戏

简介：　　《关系未来式》是一部探讨现代关系的纪录片，包含感情、家庭、自我、居住与科技关系。电影从一对相差51岁、来自两个国家的同志结婚故事开始，我们访问了社会学家对于婚姻的看法，并带出感情关系其实有各种可能性包含LAT、开放式关系、挪威的Sambo与Särbo等等，这些都挑战了我们对现代关系的想像。进一步探讨了与家人和解、自我探索、情感教育、共居生活、以及科技所带来的人际关系影响。

简介：

　　在科瑞妮（维拉·法米加 Vera Farmiga 饰）还小的时候，对周遭的一切充满了好奇，遭遇许多成长的困惑，并且接触了宗教。刚刚成年的她很快遇上爱情，并且匆匆忙忙怀了孕，懵懵懂懂进入婚姻，和一位摇滚乐手成婚，成了一个家庭主妇，也放弃了写作梦想和宗教信仰。婚后的生活并不似科瑞妮期待一样好过，她甚至还得带着嗷嗷待哺的小孩跟着丈夫和一帮音乐朋友参加巡演，经常感到被忽略的失落。巡演途中，一场车祸发生了，一家三口费尽周折幸免于难，令科瑞妮再度产生信教的倾向。开始的一切似乎很快乐，但是经历教义约束、好友脑癌、外遇萌芽，科瑞妮的信仰始终在动摇……
　　影片据卡洛琳·布里格斯的自传体小说《黑暗世界》改编。

简介：

　　影片讲述了生活在地方小城，自称年龄为16岁零42个月的四谷夏子和从小一起长大的友田鳞太郎一起去东京接遭受男友暴力的朋友miyu。两人请求在网络游戏上认识的朋友帮忙，三个人就像挑战角色扮演游戏中的终极战一样，突击了miyu的家

简介：本片荣获第十四届亚洲影展最佳影片、第七届金马奖优等剧情片及最佳录音三大奖项，为邵氏首席女星──「娃娃影后」李菁的文艺代表作，并伙拍被誉为「最美丽的动物」的张仲文、《不了情》男主角关山。故事讲述珊珊（李菁）刁蛮任性，横刀夺爱，抢去与姊姊（张燕）感情尤佳的志坚（何藩），更迫他们断绝来往。直至珊珊身患脑癌绝症，才懊悔自己过去太自私，於是性情大变，豁然让爱，并做尽好事、体谅父母（张仲文、关山），希望用爱去弥补过失，好好走完仅餘六个月的生命。

简介：

　　南斯拉夫1978年电影大师埃米尔·库斯图里卡(《生活是个奇迹》《地下》《爸爸出差了》《巴尔干庞克》《白猫黑猫》)执导的一鸣惊人处女作，因为打破了传统的性爱禁忌而引起争议，最后被禁，影片在斯洛文尼亚的国家电视节上夺得最佳导演奖，卡罗维发利国际电影节最佳新人奖。

简介：　　明朝嘉靖年间，嘉靖皇帝求仙炼丹无心朝政，奸臣严嵩独揽朝政勾结祸乱。京城朋党林立人人自危，东南沿海倭患尤甚猖獗一时。虽有戚继光、俞大猷奋力抗敌平息倭患，但溃败的倭寇趁朝政不举天下大乱，勾结恶霸汉奸，流窜于江浙一带，致使民间百姓深受其苦。
　　在浙江某府，流窜倭寇一夜杀尽万朝观，穿上道服假扮道长，于观内后堂暗设机关，专门暗算前来求签算卦的小姐夫人。一时间，坊间失踪的小姐夫人多达数十人。江浙倭患惊动朝廷，嘉靖皇帝颁旨，着柳远山为钦差大人，以监粮为名，暗查镇南王与倭寇勾结篡乱之事。
　　柳大人带府内护卫石头秘密前往江南，千金小姐柳飞燕因思念石头尾随而来。柳大人下榻钦差府不便露面，石头拜访天下镖局，请来同门师弟王天虎，以天下镖局走镖为名，暗中进入万朝观。柳飞燕不知其中秘密，任性行由险些落入倭寇于观内后堂设下的机关暗窟。
　　此行万朝观，柳大人断定万朝观就是祸害失踪小姐夫人的罪魁祸首，至于万朝观是否与镇南王有勾结，还待继续查探。柳大人正思量如何试探万朝观与镇南王的关系，柳飞燕因急于营救暗窟里的姐妹惹下大祸，天下镖局王天虎为营救柳飞燕丧命。飞燕惹下大祸，秉性仗义的石头不甘心师弟如此送死，遂夜闯万朝观，一举荡平万朝观。
　　铲除万朝观的倭寇，引起镇南王的不安。在朝廷颁旨柳将军密切关注镇南王时，镇南王铤而走险孤注一掷，设下鸿门宴，意欲陷害柳远山。剑拔弩张之际，石头杀将而来，在督抚刘将军的援助下，一举拿下拥兵自重的镇南王。柳远山回京复命，朝廷念其此番有功，晋升为二品大员，石头升为御前护卫，择黄道吉日，与柳飞燕结莲理之好。

简介：“鹞子”龙五少年时替父报仇，手刃歹徒。武孝廉陈民念其至孝，全力相救，使龙五母子得以逃到山里避仇。后来武孝廉家遭恶霸伤害，家破人亡，龙五知恩图报，隐姓埋名铲除了恶霸。

简介：　　阿有（卢冠廷 饰）与阿如（吴君如 饰）夫妻俩嗜赌如命，无奈运气不佳导致生活拮据，与借住家中的阿如亲弟阿明（黄一山 饰）不时要想办法拖延房租。他们所住的楼内有一凶屋，有舞女曾在屋中自杀，一名高僧每年定期来此为亡魂做法事超度。这天，阿有夫妻惊见某赌客大赢，从老友七哥（袁祥仁 饰）处获悉对方是用了茅山术中的“吸材气”之法转运，夫妻二人如法炮制，却将用来吸材气的僵尸毁坏。夫妻二人再使用七哥教授的养鬼之法，与同一栋楼内的舞女之鬼魂达成协议，从此二人逢赌必胜，但受女鬼“每天七点之前必须将昨天赢来的钱全部花掉”之条件限制，花钱时每每提心吊胆。这天，意外终于出现了……

简介：　　15岁的少年米夏·伯格（大卫·克劳斯 David Kross 饰）偶遇36岁的中年神秘女列车售票员汉娜（凯特·温丝莱特 Kate Winslet 饰），后来两个发展出一段秘密的情人关系。汉娜最喜欢躺在米夏怀里听米夏为他读书，她总是沉浸在那朗朗的读书声中。年轻的米夏沉溺于这种关系不能自拔的同时，却发现他自己根本不了解汉娜。忽然有一天，这个神秘女人不告而别，米夏在短暂的迷惑和悲伤之后，开始了新的生活。
　　二战虽然结束了，但德国对于纳粹战犯的审判还在继续。成为法律学校的实习生的米夏，在一次旁听对纳粹战犯的审判过程中，竟然发现一个熟悉的身影。虽然已经事隔8年，但米夏还是一眼便认出那就是消失8年的汉娜。而这一次，她坐上了纳粹战犯审判法庭的被告席，这个神秘女人的往事在案件的审理过程中逐渐清晰。然而，米夏却发现了一个汉娜宁愿搭上性命也要隐藏秘密。
　　汉娜最终被判终身监禁，而此时米夏（拉尔夫·费因斯 Ralph Fiennes 饰）与汉娜的故事还在继续……
　　在2009年初的第81届奥斯卡上，该片共获包括最佳女主角在内的5项提名，最终温丝莱特凭借该片折冠当年奥斯卡影后。

简介：　　根据尼科·沃克的同名小说改编，故事涉及创伤后应激障碍，故事讲述一个来自富裕家庭的男子本拥有美好生活，此后他远离家乡，到伊拉克成为一名军医，而当他返回家乡后便患上了创伤后应激障碍，此后他吸毒、负债累累，他更是先后抢劫了11家银行。

简介：

简介：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.