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危机2021
加里·奥德曼、艾米·汉莫、伊万杰琳·莉莉将主演新惊悚片《幻境》(Dreamland)，号称是第一部聚焦国际“鸦片类药物危机”的院线片。已经开拍，将在蒙特利尔和底特律拍摄。 尼古拉斯·亚雷茨基(《套利交易》)执导及编剧，主线为三方故事：一个毒品走私犯安排了一场跨越美国和加拿大、涉及多集团的芬太尼走私行动；一个从奥施康定成瘾中恢复的建筑设计师发现她的儿子跟毒枭有联系事件背后的真相；一个大学教授与他的雇主被曝光的真相作斗争，这家与政府联系很深的药品公司试图把一种“非上瘾”止痛药投入市场。 亚雷茨基称，该片想表现“鸦片类药物滥用危机已经触及到社会的每个角落，影响是毁灭性的”。影片为加拿大-比利时合拍片，会在柏林的欧洲电影交易市场卖片。
导演：暂无 主演：加里·奥德曼/艾米·汉莫/伊万杰琳·莉莉/格雷戈·金尼尔/米歇尔·罗德里格兹/卡迪小子/因迪拉·瓦玛/莉莉-罗丝·德普/米娅·科施娜/迈克尔·阿伦诺夫/维罗尼卡·费瑞尔/尼古拉斯·亚雷茨基/约翰·拉尔斯顿/马丁·唐文/埃里克·布吕诺/杜克·尼科尔森/埃洛拉·托尔基亚/卢克·伊万斯/夸西·宋桂/本兹·安托万/金川弘敦/托妮·伽恩/阿莱恩·古勒姆/莎拉·桑帕约/道恩·福特/杰森·卡弗利尔/毛里齐奥·泰拉扎诺/罗素·袁/斯蒂芬妮·科斯塔/马丁·德普纳/AdamTsekhman/KatieEmmeMcIni
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◎3.4▶温柔女子
寄给狱中丈夫的包裹突然打回头，妻子别无选择只得远赴西伯利亚寻找答案。列宁巨像矗立，铁幕阴影无处不在，人人落魄失魂自我麻醉，对一切视若无睹。的士司机说「监狱助人生存」，妻子面对高墙却处处受尽屈辱， 丈夫依然下落不明，欲知真相代价沉重。启发自陀思妥耶夫斯基的《温柔女子》，撕破温柔尽现残酷，暴露极权压迫至今仍阴魂不散。洛兹尼萨以纯酿伏特加，为俄罗斯民族的苦难干杯，留在喉头的，是烧心灼热与苦涩回味。
◎5.4▶真味小厨王
《真味小厨王》是由夏秀轩导演，由释小龙、吴孟达主演的剧情中国片，主要简述了美国网络国际美食集团为在中国开拓饮食市场，拟在中国某城市举办“中国厨神选拔赛”。获胜者将北上参加总决赛，夺得冠军者可获得金铲一把，并可获得价值500万美元的合作合同的故事。
◎4.5▶游戏的法则，人间狩猎
비밀스러운 과거를 간직한 ‘정환’, 과거를 정리하기 위해 찾아간 외딴섬에서 또 다른 여행객들과 마주하게 된다. 모두 함께 머물게 된 게스트하우스에서 ‘정환’ 홀로 묘한 분위기를 느끼고 주인 남자를 경계하지만 어느새 그들의 표적이 된 자신을 발견하게 된다. 위험한 상황에서 가까스로 탈출하는 데 성공한 순간 또 다른 의문의 존재와 맞서 필사의 사투를 벌이게 되는데… 섬의 위험한 비밀을 파헤치는 순간, 광기의 추격이 시작된다!
◎3.6▶小公主
富有的克鲁上校和她的女儿萨拉（利塞尔•马修斯 Liesel Matthews 饰）在印度度过了一段幸福美好的时光。直到战争爆发，因为萨拉的母亲在她出生的时候就去世了，上战场前，克鲁上校不得不把萨拉送到了纽约著名的米切恩女子学校，将女儿委托给了米切恩夫人代为照顾，并留下了一笔不菲的报酬，以便自己走后女儿生活无忧。米切恩夫人看在这笔丰厚酬劳的面子上，给萨拉安排了最大最好的房间，即使是在违背校规的情况下也默许萨拉带着母亲留给她的项链。天真活泼的萨拉总是有一些奇思妙想的小故事，让她很快和其他孩子融洽的相处起来。在大家的簇拥下，萨拉俨然过着小公主一般的生活。但天有不测风云，就在她生日那天，前线却突然传来了她父亲阵亡的消息，萨拉成了孤儿，米切恩夫人开始暴露出她贪婪势利的本性，萨拉的生活轨迹开始发生变化… 本片改编自弗朗西斯•霍奇森•伯内特同名小说《小公主》。
◎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.
◎9.7▶黑暗弥漫
二战时，在德国占领下的波兰，管道工波德克（罗伯特·维凯威兹 Robert Wieckiewicz 饰）与搭档扎佩克兼做着小偷的勾当，错综复杂的下水道成了他们最好的隐匿处和贮藏室。他和城市中被封锁的犹太区做生意，跟德军中的乌克兰军官是旧相识，乱世中享有一点生活的自在。不久德国人开始屠杀、搜捕犹太人，部分不想被押往集中营的犹太人和波德克达成交易，按人头计价得到了藏身下水道的机会，黑暗又臭气熏天的下水道成了波德克收留犹太人的避难所，地面上的犹太人很快被抓捕一空，在物价飞涨和德国人持续的高压下，扎佩克离他而去，波德克只靠自己艰难维系着下水道中犹太人的安全……
◎7.7▶台北飘雪
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◎5.2▶第25号座位
当费伊·班克斯秘密参加一个竞赛，以赢得第一次载人火星任务的席位时，她从来没有想过会eee。但当危险的单程旅行变成现实时，她在地球上的生活就颠倒了。时间不多了，费伊必须决定是离开丈夫、家人和朋友，还是永远的离开让她意识到她在这世上拥有的一切
◎5.6▶春浓满楼情痴狂
改编自田纳西·威廉斯的名剧，并由舞台剧原班人马合作演出，由手法谨慎的理查德·布鲁克斯导演，描述过气电影女星跟她的男朋友回到美国南部的故乡，希望利用她的美色和名气，狠狠地向当地的贪污镇长敲诈一笔养老金。本片探讨人心的险恶狡诈相当深刻有力，令人看后感到心寒。杰拉尔丁·佩奇、保罗·纽曼等一众演员均有上佳演出。
◎9.6▶沉默的雪
一次意气争斗，一场猝不及防的死亡，逃亡路上，是兄弟的临终嘱托和身份之谜。神秘的鄂温克族，一个低调沉默的男人，扑朔迷离的身份，一次现代与传统的艰难融合，一段恩怨情仇纠缠的痛苦时光，人性和情感的激烈对撞中，善恶真假结局如何…
◎8.1▶情感算术
梅兰妮（苏珊·萨兰登 Susan Sarandon 饰）有一个人人羡慕的家庭，儿孙承欢膝下，婚姻幸福美满。可即便如此，梅兰妮还是觉得不快乐，始终觉得人生中缺少了什么重要的东西。一天，梅兰妮收到了一封信，这封信将她的记忆拉回到了第二次世界大战时。 那是，梅兰妮身处法国临时难民营，在那里，孤苦无依的她结识了雅各布（马克斯·冯·西多 Max von Sydow 饰）和克里斯多夫（加布里埃尔·伯恩 Gabriel Byrne 饰）两个男人，他们一个给了梅兰妮如同父亲一样无微不至的关爱，另一个给了她惊心动魄一生难忘的爱情。如今，早已经随着时间淡漠在人海之中的两人再次出现在了梅兰妮的面前，她该做出怎样的选择呢？
◎6.8▶野小子们
法国《电影手册》2018年度期待榜单重点推荐影片之一，影片采用16mm胶片拍摄，具有极致的迷幻色彩，影像超级大胆，故事讲述5个热爱艺术的“野小子”的罪恶之行，让人想到库布里克的《发条橙》，而这5位“野小子”则正由5位女演员“扮演”，涉及到了不少情色元素，探讨了性别结构。
◎--▶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