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備注：已完結(jié)
類(lèi)型：動(dòng)作片
主演：劉亦菲 甄子丹 鞏俐 李連杰 李截 安柚鑫 馬泰 趙家玲 鄭佩佩 溫明
導(dǎo)演：妮琪·卡羅
語(yǔ)言：英語(yǔ) / 漢語(yǔ)普通話(huà)
年代：未知
簡(jiǎn)介：迪士尼影業(yè)榮譽(yù)出品《花木蘭》由備受贊譽(yù)的電影導(dǎo)演妮基·卡羅執(zhí)導(dǎo)，將中國(guó)傳奇戰(zhàn)士的史詩(shī)故事全新呈現(xiàn)。影片講述了一位無(wú)所畏懼的年輕女子義無(wú)反顧為家國(guó)而戰(zhàn)，成為中國(guó)史上最著名的偉大勇士之一。當(dāng)皇帝下令境內(nèi)每個(gè)家庭必須有一位男丁應(yīng)召出征，抵御北方來(lái)犯者入侵，出身軍戎之家的長(zhǎng)女花木蘭，挺身而出，替病痛纏身的父親應(yīng)征入伍。她女扮男裝化名“花軍”，一路歷經(jīng)磨練，駕馭自己內(nèi)心的力量，激發(fā)真正的潛能。通過(guò)這段傳奇歷程，她將成為一名光榮的勇士，不僅贏得國(guó)家的認(rèn)可，更博得父親的驕傲。
備注：已完結(jié)
類(lèi)型：動(dòng)作片
主演：劉亦菲 甄子丹 鞏俐 李連杰 李截 安柚鑫 馬泰 趙家玲 鄭佩佩 溫明
導(dǎo)演：妮琪·卡羅
語(yǔ)言：英語(yǔ) / 漢語(yǔ)普通話(huà)
年代：未知
簡(jiǎn)介：迪士尼影業(yè)榮譽(yù)出品《花木蘭》由備受贊譽(yù)的電影導(dǎo)演妮基·卡羅執(zhí)導(dǎo)，將中國(guó)傳奇戰(zhàn)士的史詩(shī)故事全新呈現(xiàn)。影片講述了一位無(wú)所畏懼的年輕女子義無(wú)反顧為家國(guó)而戰(zhàn)，成為中國(guó)史上最著名的偉大勇士之一。當(dāng)皇帝下令境內(nèi)每個(gè)家庭必須有一位男丁應(yīng)召出征，抵御北方來(lái)犯者入侵，出身軍戎之家的長(zhǎng)女花木蘭，挺身而出，替病痛纏身的父親應(yīng)征入伍。她女扮男裝化名“花軍”，一路歷經(jīng)磨練，駕馭自己內(nèi)心的力量，激發(fā)真正的潛能。通過(guò)這段傳奇歷程，她將成為一名光榮的勇士，不僅贏得國(guó)家的認(rèn)可，更博得父親的驕傲。
備注：已完結(jié)
類(lèi)型：喜劇片
主演：MykhailoKhoma OlenaLavrenyuk Nazari
導(dǎo)演：OlehBorshchevskyi
語(yǔ)言：烏克蘭語(yǔ) Ukari
年代：未知
簡(jiǎn)介：心懷藝術(shù)家大夢(mèng)的迪迪在趕場(chǎng)時(shí)意外撞壞了當(dāng)?shù)亓髅サ能?chē)子。為了在三天內(nèi)賠償他，迪迪想盡辦法。迪迪在報(bào)紙上看到了走私香煙到波蘭賺錢(qián)的消息。這時(shí)，笨蛋助手余力克想到了牧師的兒子利瑪爾。牧師去首都基輔三天，會(huì)在周日儀式開(kāi)始前趕回來(lái)要迪迪拿著利瑪爾那里的鑰匙跑到教堂，把大家放在教堂里的善款“借”出來(lái)。就這樣共同踏上了一場(chǎng)冒險(xiǎn)旅程。在去往邊境的途中一個(gè)漂亮的女人出現(xiàn)在他們的路上，并破壞了他們的所有計(jì)劃。當(dāng)這三個(gè)人冒著風(fēng)險(xiǎn)實(shí)現(xiàn)夢(mèng)想成真時(shí)，意外的事情發(fā)生了……
備注：已完結(jié)
類(lèi)型：喜劇片
主演：VichayutLimratanamongkol JularatHan
導(dǎo)演：LaddawanRattanadilokchai
語(yǔ)言：泰語(yǔ)
年代：未知
簡(jiǎn)介：龐格 (威查宇˙里拉塔納蒙肯 飾)是位內(nèi)向的高中生，雖不擅長(zhǎng)踢足球但為了滿(mǎn)足父親的期望而硬著頭皮加入校隊(duì)。而相反的，萍珂 (珠拉瑞˙漢蓉柔 飾)是個(gè)個(gè)性直率且熱愛(ài)足球的女孩，她因愛(ài)慕校隊(duì)的隊(duì)長(zhǎng)-彼克(洽查威˙德查盧朋 飾)，一心希望能進(jìn)入校隊(duì)，但礙于性別的關(guān)系而無(wú)法成功加入。但在一次偶然地意外中，龐格和萍珂兩人靈魂竟互換了!他們被迫以對(duì)方的身分和異性相處及生活，在互換的過(guò)程中他們更加明白內(nèi)心的真實(shí)感受，也無(wú)意中發(fā)現(xiàn)周遭人的秘密…而彼克也漸漸被互換靈魂的龐格吸引，最后他們的靈魂是否能成功換回?而這愛(ài)情三角習(xí)題最終會(huì)演變成什么樣的結(jié)局?
備注：已完結(jié)
類(lèi)型：劇情片
主演：VahidAghapoor ParnianAkhtari SarahA
導(dǎo)演：薩達(dá)夫·弗魯基
語(yǔ)言：波斯語(yǔ)
年代：未知
簡(jiǎn)介：Ava's life is dictated by rules. Coming of age in Iran, she faces pressure to conform to the expectations of her parents, her school, and her friends. When Ava learns that her parents were once flagrant rule breakers themselves, she begins to rebel against the very foundations of her society. AVA masterfully demonstrates how a culture of authority can force denial and detachmen...
備注：已完結(jié)
類(lèi)型：恐怖片
導(dǎo)演：JeethuJoseph
語(yǔ)言：馬拉雅拉姆語(yǔ)
年代：未知
簡(jiǎn)介：影片前半場(chǎng)，一般幸福家庭生活敘述，與出場(chǎng)人物描述，主角是有線(xiàn)電視營(yíng)運(yùn)商，家中成員在一次意想不到的情況下，殺了警政署長(zhǎng)的兒子。雖然沒(méi)有飛天遁地、以一人對(duì)抗十人的英雄，但這些敘述都是在為后半場(chǎng)鋪陳，缺一不可。請(qǐng)耐住熱血，用心看完。 影片后半場(chǎng)，主角如何頑抗警察，如何挽救家庭，宛如上帝般創(chuàng)造了日期，不在場(chǎng)的日期。這一連串的為什么…為什么會(huì)這樣，…為什么會(huì)那樣，整個(gè)劇情令您離不開(kāi)沙發(fā)，憋尿也要看完知道為什么。 沒(méi)有帥哥，沒(méi)有美女，劇情貼近生活，又那么不可思議，看完后，最大的收獲是：你又多一位偶像了。 雖然本片網(wǎng)絡(luò)搜尋的知名度不高。但好片是大家模仿的對(duì)象。山寨版的重拍片(Drushyma泰盧固語(yǔ))7月份已上映。 本片制作成本只有4500萬(wàn)盧比，票房收入?yún)s高達(dá)5億印度盧比，成為史上最賣(mài)座馬拉雅拉姆語(yǔ)影片，上映時(shí)間更是突破100天，獲獎(jiǎng)無(wú)數(shù)。——印壇字幕組
備注：已完結(jié)
類(lèi)型：劇情片
主演：皮弗 安德里亞·迪·斯戴法諾 米麗婭姆·萊昂內(nèi) 斯黛拉·艾吉托 文森特
導(dǎo)演：皮弗
語(yǔ)言：意大利語(yǔ)
年代：未知
簡(jiǎn)介：故事發(fā)生在二戰(zhàn)結(jié)束前，有情人阿圖羅和芙洛拉迫于女方父親的壓力無(wú)法結(jié)婚，因?yàn)樗呀?jīng)把女兒許配給了西西里島的一個(gè)黑幫成員。阿圖羅只有一個(gè)選擇，就是入伍攻回西西里，奪回自己的愛(ài)人。
鏡子的另一面：紐波特民歌藝術(shù)節(jié)1963~1965
備注：已完結(jié)
類(lèi)型：劇情片
主演：BobDylan JoanBaez JudyCollins
導(dǎo)演：MurrayLerner
語(yǔ)言：英語(yǔ)
年代：未知
簡(jiǎn)介："Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
