爱妻家

简介：

　　In the frozen woods of an isolated Maine logging town, one woman's tragic mistake shatters the balance of the community, resulting in profound and unexpected consequences. Weaving together several connected story lines, BLUEBIRD explores the profound and transcendent effects of a tragedy on an isolated American town.

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简介：

继《西班牙公寓》《俄罗斯玩偶》后该系列原班人马打造的第三部，讲述男主角，40岁的Xavier在纽约的生活。

简介：

一位心思细腻钟爱音乐的小提琴手--李爱芳，一位患有白血症的漂亮钢琴手--林纯纯，他们从相识、相知、到相爱，面对结婚与死亡的感人故事。

简介：

本武俠片於1972年拍成，由何夢華導演，江陽編劇，娃娃影后李菁、趙雄、楊志卿及王俠主演。故事描述，威遠鏢局少主兼滄州總捕頭萬超凡（趙雄），與鎮北鏢局千金秀秀（李菁）青梅竹馬。超凡不知秀秀之父樊芝龍（楊志卿）除嫁禍萬家劫鏢外，亦為其殺父主兇。後秀秀撞破其父的愛妾與門徒通姦，險遭滅口，幸得超凡及時趕到相救。超凡得秀秀與冷面劍客（石天）相助，終揭穿樊連串陰謀……

简介：讲述在一个人人都有魔法天赋的大家庭里，唯一的普通少女米拉贝却成为拯救魔法危机的最后希望的故事。

简介：朱恩（June）在哥哥去世后搬到意大利，寻求新的开始。在她的新精英学校里，她被詹姆斯（James）吸引，詹姆斯是个勇敢却危险的人，卷入了非法综合格斗（MMA）比赛，但她却开始和詹姆斯最好的朋友威尔（Will）约会，威尔是个完美的模范学生。然而，表象具有欺骗性，朱恩很快发现学校里的人都并非表面那样，每个人都隐藏着秘密。随着紧张局势加剧，隐藏的真相浮出水面，朱恩需要决定自己的心真正属于谁。

简介：电影讲述男主角Hassan是一名退役军人。当初他离开家里加入军队，为的就是控制他的“心魔”和残暴的性格。为国家贡献，完成了军人使命后，Hassan不愿看到家人继续在Raja的欺压下生活过得苦不堪言，最终决定回到了他成长的地方拯救他们。他的妹妹Zain在Raja举办的MMA拳赛中输了欠下巨债。为了偿还债务，Hassan 和 Zain兄妹俩被迫再战Rayyan 和Vee。他们接下来还会遇到什么难题和挑战呢？Hassan是否能成功拯救他身边的人呢？

简介：

　　一双绣花鞋，隐藏着一个死亡诅咒，凡是穿过绣花鞋的人都意外惨死，无一幸免。安雯（何乙轩 饰）大病未愈，摆脱了丈夫潘航（辉灿 饰）和医生的看护，独自逃回老家古宅生活。安雯在老宅发现了一双祖上流传并受到死亡诅咒的绣花鞋，阴差阳错之下绣花鞋穿在了她的脚上，意外开启了绣花鞋上的死亡诅咒。咒怨生效冤魂索命，盘桓在老宅之中的诡影无处不在，无法摆脱的恶灵如影随形，迫使频临崩溃的安雯做出疯狂的举动，陷入一场危机四伏的惊魂逃亡……

简介：

　　樱花飘舞的季节，不善言辞的女孩市原由奈（福本莉子 饰）和因家庭之故多次转学的山本朱里（滨边美波 饰）成为好友。巧合的是，两个女孩还刚好住在同一栋公寓。因为和绘本上的王子十分相像，朱里没有血缘的弟弟理央（北村匠海 饰）拨动了由奈的心弦。可是在和理央交流的过程中，由奈无奈地发现这个阳光男孩藏着一份不能轻易道出的情感爱恋。另一方面，由奈青梅竹马的好友乾和臣（赤楚卫二 饰）对朱里产生了好感，只不过偶然目睹的一幕，令他只能尝试压抑心中的喜欢。春花烂漫，夏雨如注，男孩女孩无处安放的情感交织错乱……
　　本片根据咲坂伊绪的同名漫画改编。

简介：番茄带着梦想来到了北京，与三位美女主播成为了室友。一次偶然的机会番茄伪装成人气王子纯K的粉丝混进了钻石哥的派对现场，但是没想到在party中，番茄将纯K的庆功宴搞砸了。隔天纯K和番茄出糗的视频被送上了热搜排行榜。

简介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor