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渎神者的灵扉
八年前，斯里的丈夫赫尔曼惨死于降头诅咒，她带着一双儿女逃离家乡，以为噩梦就此终结。八年后，斯里接到母亲重病的消息，只得带着女儿蒂娜、已成家的儿子安迪与儿媳拉妮重返爪哇老家。这次返乡意外打开了被尘封的灵魂门户，当年被斯里刻意掩盖的黑暗原罪逐渐浮出水面，沉寂的诅咒带着更凶猛的报复卷土重来，整个家族都被拖入无边的恐怖深渊。
导演：阿兹哈尔·基诺伊·卢比茨 主演：卜提·阿尤蒂雅/RanggaAzof/NadyaArina/英达·帕玛塔萨里/AshaAssuncao/阿斯文迪·贝宁·斯瓦拉/MutiaDatau/苏吉沃·特乔/NovaEliza/TeddySyah/FuadIdris/TotosRasiti/FinniVyrnandaPutri/Firmansyah/YurikeFindia
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◎3.4▶上帝的笔误
Alice作为私家调查员伪装成偏执病人进入一家精神病医院来收集关于一个内部人员离奇死亡案件的证据。不过她在医院的“疗养”期间所遇到的事情超乎了想象，而她的理智告诉她这一切背后必有文章。一段完全陌生又充满激情的故事即将展现在她面前。本电影改编自Torcuato Luca de Tena同名小说。
◎3.4▶关于在短时间内的某几个人的经过
Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
◎5.1▶大作战
During the last days of the Great War, A group of U.S. soldiers are sent behind enemy lines to rescue a lost platoon.
◎4.3▶何处是我家2001
故事开始于1938年，即将爆发的战争阴影笼罩着每一个犹太人。为了避难，沃尔特（米勒·尼尼兹 Merab Ninidze 饰）带着妻子杰塔（茱莉安·柯勒 Juliane Köhler 饰）和女儿雷吉纳（莉·克卡 Lea Kurka 饰）远赴非洲大陆，希望能够在那里躲避战火，开始新的生活。 刚开始，恶劣的自然环境和完全不同的生活方式让杰塔感到十分不适，背负着巨大压力的她将怒火和怨气全部发泄在了丈夫身上，夫妻两人之间的关系因此变得岌岌可危。然而，随着时间的推移和接二连三发生的意外，杰塔渐渐习惯了充满了辛苦但也洋溢着幸福的生活，亦懂得了珍惜眼前人。而年幼的雷吉纳更是融入了异域文化中，还在当地结交了许多好友。战争结束了，一家人的去留成为了最大的问题。
◎9.9▶女守卫们
第一次世界大战如火如荼，法国男丁全被征召入伍，留下妇孺守卫家园。家族庄园的母亲请来孤儿法仙妮帮忙农耕事务，勤奋能干的她深得上下众人喜爱。然而当男人陆续从战场归来，各种恩怨爱恨随之而起，为庄园的安宁带来暗涌，法仙妮亦被赶出了庄园……凭《人神之间》（2010）获戛纳评审团大奖的泽维尔·波瓦，以诗意镜头描绘法国乡郊景致，美得教人联想起泰伦斯·马利克的《天堂之日》（1978），最后一幕则犹如向库布里克二战经典 《光荣之路》（1957）致敬。
◎4.3▶胡越的故事
1975年越战结束后，香港一度成为“第一收容港”，接收了大量越南难民、船民。这些人到港后，会被港府统一安置在羁留营。对于混在他们中间的越共，特工（特务）发现后会秘密杀害。 在越战中侥幸捡得一条命的越南华裔胡越（周润发）随伙伴逃难到港后，如愿见到素未蒙面、后期曾中断联系的笔友李立君（缪骞人），后者是一名社会工作者，十分同情他的遭遇。当胡越反杀将他视作越共的特工后，李立君决定帮他办去美国的假护照。办护照时，胡越结识与他命运无差的沈青（钟楚红），两人讲好到美一起生活。 胡越、沈青等人在菲律宾转机时，沈青及其他几个女孩被帮他们办护照的人秘密带走，为找到沈青，胡越放弃赴美良机，胁迫着该人来到菲律宾唐人街一家Bar，原来沈青是被骗到该处做实为妓女的Bar女。为了履行许下的要将沈青照顾的诺言，胡越答应老板钟仁（金彪）替他做杀手，并因之与另一杀手阿三（罗烈）结成兄弟。但他及沈青、阿三仅是钟仁手中的棋子。
◎4.1▶偷跑青春
Thirteen years old Marek shoots videos with social themes, making him an outsider among his classmates. At home, his peaceful relationship with his mother is disrupted by his mother's new acquaintance. In the most sensitive phase of his life, Tereza enters his path. Despite their social differences, they develop a liking for each other. Soon teenage games spiral out of control ...
◎9.3▶致埃文·汉森
聚焦青少年自杀、心理疾病等问题，讲述一个深受社交恐惧折磨的高中生编造故事，试图接近一个已自杀的同学的家庭。对“局外人”、心理创伤和人性的探讨细腻、私人，触动心灵。
◎7.7▶背起爸爸上学
本片根据真实故事改编。 农村孩子石娃（赵强）自幼丧母，与父亲（江化霖）和姐姐（颜丹晨）相依为命的他长到七岁时，为生活所困的父亲再也拿不出足够的钱供他和姐姐同时读书，一把铜勺令成绩优异的姐姐辍学，父亲叮咛石娃好好读书。石娃上初中时，姐姐为给家中节省开支早早出嫁，并从男方出的彩礼钱中挤出一部分供他念书。懂事的石娃刻苦读书，在全国化学奥林匹克竞赛中夺得一等奖第三名的好成绩，并考取了省城师范学校，但此时父亲却在干活时不幸摔伤终瘫痪在床，为了照顾好父亲又不耽误学业，石娃决定背起父亲上学。
◎8▶鹤遗失的语言
菲利普（安古斯·麦克菲登 Angus Macfadyen 饰）一直以来都因为心中的一个秘密而备受煎熬，那就是他其实是一名同性恋者。终于，他决定再也不要躲躲藏藏的生活了，他决定将这件事情告诉自己的家人。一天，菲利普找到了自己的父亲欧文（布莱恩·考克斯 Brian Cox 饰），坦白了自己的性取向，儿子的身份和坦诚在欧文的内心里掀起了狂风巨浪。 原来，欧文自己也是一名同性恋者，但是他选择了向普世规则屈服，娶了欧文的母亲罗斯（艾琳·阿特金斯 Eileen Atkins 饰）。然而，这么多年过去，欧文的内心里一直都因此而备受煎熬，菲利普走出的这一步对于欧文来说犹如醍醐灌顶。
◎5.2▶自梳
一段穿越50年时空的真情。两个女人的苦难与爱恨，让人心碎却也心醉。现代女性阿慧（李绮虹饰）从美国学习建筑业归来，在香港与大陆间经营事业，是个新时代的女强人。其男友（赵文煊饰）也是其下属，二人感情渐淡，男友移情别恋。阿慧伤心却也无奈。阿慧父亲委托阿慧陪其幼年时的奶妈欢姑（归亚蕾饰）回乡探旧友，两人一见面就针锋相对，相处不太愉快。随着旅程的进行，二人矛盾不断，却也渐渐磨合。欢姑在开导感情脆弱的阿慧时，道出了一段隐藏在心底的往事。 40年代的广东顺德，女子还生活在男权制的枷锁下。年轻的意欢（杨采妮饰）被父亲卖于地主，她宁愿做自梳女，宁死不从。被途经路过的杏花楼妓女玉环（刘嘉玲饰）救下。玉环嫁给了当地织布厂厂主陈耀宗（董玮饰）做了八姨太，与其他太太明争暗斗不断，却将意欢认为知己，二人无话不谈。意欢与青梅竹马的恋人（钱嘉乐饰）两情相悦却难成眷属。玉环被丈夫出卖，成为军阀谈生意的筹码，愤怒之下，她离开了陈家。意欢对玉环不离不弃，令她十分感动，感情渐渐超越了友谊。而此时意欢与恋人在“买门槛”之夜出轨，玉环又担心又生气，终于忍不住告诉了意欢自己心底的秘密。有情人能否终成眷属？两个女人之间到底有什么秘密？阿慧能否度过情关？而欢姑苦苦寻找了50年的人又是谁？ 《自梳》是大导演张之亮的名作，朴实无华却感人肺腑，人性刻画深刻，对时代的敏感度也可见一二，是国产女同电影的最佳之作。
◎6▶没有小鸟的天空
在一场意外中，阿仁（洪金宝 饰）不幸丧生，幸运的饰，机缘巧合之下他又死而复生了。可是，好不容易活过来的阿仁却希望自己不如就一直长眠不醒下去，因为他发现自己的阳具不见了！经历了多方打探，阿仁得知自己的小鸟被捐赠给了一位名叫麦克（钟镇涛 饰）的富豪，于是阿仁找到了他，试图向他要回本该属于自己的东西。 在麦克的帮助之下，阿仁的事业渐渐有了起色，一来二去之间，两人竟然产生了友谊。阿仁的母亲患上了老年痴呆症，在母亲完全失去记忆之前，阿仁希望能够让她看到自己的下一代诞生，于是，阿仁将麦克告上了法庭，谁知道麦克竟然不辞而别下落不明。
◎--▶欢迎回家，宝贝
朱迪思是柏林的一名急诊医生。当她从奥地利的一家人那里继承了一栋房子，而这家人正是她在童年时期被送给的收养家庭时，她踏上了揭开自己身世之谜的旅程。然而，这一探寻最终变成了一场噩梦般的探索，不仅揭开了过去的面纱，还深入到了她灵魂深处的黑暗地带。
◎--▶万恶之恶
In detail, The Villain of Villains follows 12-year-old rebellious Stephanie, who dreams of becoming a superhero like her late mother but fails the entrance exam to the Hero School. She gets a second chance if she infiltrates the Villain School to retrieve a powerful artefact that's been stolen. At the Villain School, her loyalty is tested, and her search leads her to the Villai...
◎--▶热血大陈岛
影片以大陈岛垦荒历史为创作底色，在尊重历史真实性的前提下，以年轻化、科技化的光影语言活化红色记忆，生动诠释了“艰苦创业、奋发图强、无私奉献、开拓创新”的大陈岛垦荒精神，斩获第五届亚洲国际青年电影展金兰奖“最佳AI影片”等两个奖项。
◎--▶破暗
暂无简介，敬请期待
◎--▶猎虎贰
暂无简介，敬请期待
◎--▶港城大劫案
暂无简介，敬请期待