花城

简介：本作は、女子刑務所という閉塞された密室で、洗脳の恐怖を描くサイコホラー。元議員秘書で、信頼していた議員の殺人罪を被り刑務所で過ごす美山を夏子が演じた。

简介：霍金（埃迪·雷德梅恩 Eddie Redmayne 饰）和简（菲丽希缇·琼斯 Felicity Jones 饰）相识于一场舞会上，两人初次见面交谈甚欢，颇有一番相见恨晚的意味。之后，霍金大胆的邀请简参加舞会，二人以此为契机，陷入了热恋之中。 不幸的是，一次昏迷令霍金被确诊患上了罕见的肌萎缩性侧索硬化症（ALS），医生坦言他只剩两年的生命，被病魔折磨的霍金陷入了抑郁之中，然而简并没有因此而抛弃他，恰恰相反，几经波折之后，两人踏入了婚姻的殿堂，简还为霍金生下了一个活泼可爱的孩子。霍金的身体迅速的虚弱下来，与此同时，他在学术研究上却取得了一个又一个成就。为了照顾霍金，简心甘情愿成为了他“背后的女人”，但是，这也恰恰成为了两人幸福婚姻里的第一道裂缝。

简介：平静的郊外社区，小有名气的画家大卫·安德纳赫（麦德斯·米科尔森 Mads Mikkelsen 饰）与隔壁女邻居有染。某天当他鬼混时，女儿里奥妮（Valeria Eisenbart 饰）却在自家泳池溺毙。该事件直接导致他和妻子玛雅（洁西卡·史瓦兹 Jessica Schwarz 饰）的婚姻破裂，悲伤自责的大卫自暴自弃，一度试图自杀了结生命。被好友马克思（Tim Seyfi 饰）从死亡边缘拉回后的夜晚，大卫跟随一只神秘而美丽的蝴蝶穿过一条通道，竟意外回到了5年前事故发生的那一刻，成功救下女儿的性命。悲剧人生似乎发生转机，然而随后一连串的连锁事件却让他陷入命运漩涡，难以抽身……本片荣获2010年德国影评人协会最佳影片奖。©豆瓣

简介：

父亲去世一年后，12岁的里德利和母亲格洛丽亚从纽约市搬到西澳大利亚，与他关系疏远的祖父一起生活。里德利最终迷失了方向，在内陆深处，不见人影。他遇到了一只被缠在旧铁丝网里的野狗。他救下了这只濒临死亡的澳洲野狗，两人结下了意想不到的友谊，并踏上了一段史诗般的冒险与生存之旅，寻找回家的路。

简介：

一名 8 岁的女孩穿越纳粹欧洲寻找她的父母。她的名字叫米莎。她是犹太人。他的父母刚刚被驱逐出境。她只知道一件事：他们在东边。借助一个简单的指南针，她离开了祖国比利时，徒步穿越德国和波兰到达乌克兰，希望能找到他们。为了生存，她偷食物和衣服。为了生存，她躲避男人和他们的暴力。为了生存，她加入了一群狼。并成为其中一员。

简介：

酒类管制部门的探员约翰逊在躲避一伙凶残的私酒贩和一名神秘杀手的追捕后，偶然发现了偏僻的布谷鸟旅馆。他意识到自己必须抢先一步查明凶手的身份，否则旅馆里那些疯狂的住户会把他变成怪诞的亡灵教堂里的另一个展品。

简介：父亲去世后，小约翰（阿明·缪勒-斯塔尔 Armin Mueller-Stahl 饰）接替了父亲的职位掌管了公司。小约翰有三个孩子托马斯、克里斯蒂（奧古斯特·迪赫 August Diehl 饰）和安东尼（洁西卡·史瓦兹 Jessica Schwarz 饰），聪明勤恳的克里斯蒂老老实实的跟着约翰学本领，深受约翰的信赖，而托马斯则和他恰恰相反，喜欢看戏的他总是神龙见首不见尾。　　大女儿安东尼眼看就要到了家人的年纪了，约翰相中了一个名叫格林利希（尤斯图斯·冯·多赫纳尼 Justus von Dohnanyi 饰）的青年商人，觉得他和自己的女儿简直是门当户对，但是安东尼却非常讨厌这个油腔滑调的男人。之后，安东尼邂逅了另一个年轻人，体会到了爱情的悸动。

简介：好国减州的圣佩雷罗港一艘货轮爆炸，殒命27人，9000万好圆失落踪。事情收死以后，联邦考核局捕快杰克·贝我正在医院守候晕厥没有醉的一位幸存者——匈牙利裔功犯；海闭特派员年夜卫·库科则对另中一位拿到特赦令的幸存者罗杰·金特停止了审讯。

简介：

塑料人：杰瑞·罗斯·巴里什的艺术人生 有时候，一个人在面对重重困难时，会被迫通过艺术创作和成为艺术家来寻找自我。杰瑞·罗斯·巴里什出生于一个勤劳的犹太家庭，他们热爱拳击，与黑帮有某种联系。正是这些联系让他开始从事保释金生意。后来，他打破常规，成为六十年代激进抗议者的保释员。“别在监狱里死去，打电话给巴里什申请保释”是一代人的圣歌。受到时代的启发，他更进一步，踏上了英雄之旅，艺术或许是他的救赎……

简介：

简介：故事开始于从北京开往福州的列车上，一位神情痛苦的姑娘吸引了旅客杜丘（张潮 饰）和张同生（詹靖波 饰）的注意。他们想要和姑娘攀谈，却发现这个女孩一直在回避两人的问题。无奈之下，他们决定找乘警解决问题。姑娘看到警察感到十分害怕，于是趁着大家打盹的功夫，姑娘在南京站提前下了车。　　下车之后，姑娘徘徊在长江大桥上，原来，在曾经的浩劫中，姑娘的母亲丧生，父亲遭到了逮捕。年少无知的她沾染上了很多不良的风气，和流氓小混混厮混在一起。之后，良心发现的女孩决定告别自己混乱的过去，可是她的过去却不愿意放过她。就在女孩想要一死了之的节骨眼上，张同生出现在了她的身后。

简介：The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.