野战惊魂

一群男男女女到树林里去享受周末，顺便互相做爱，不料遇上嗜血怪兽。

校花冒牌男友

跟随叔叔进城务工的农村大龄青年徐东方，因为见义勇为，救下了被小混混骚扰的音乐系女大学生韩玉莹，并对其一见倾心。随后，徐东方进入大学做园艺工，和韩玉莹意外重逢。徐东方获得了胡俏雯的帮助，晋升为韩玉莹的“冒牌男友”。为了帮助玉莹专心准备比赛，作为“冒牌男友”的徐东方受到韩玉莹另外两名追求者憎恨。然而，在胡俏雯和范小露的帮助下，徐东方一次次占尽先机。裘小风、洪明相继开始实施报复徐东方的计划。终于得逞，最后韩玉莹被取消了比赛资格。韩玉莹蓄意报复洪明，幸在徐东方和胡俏雯的帮助下，没有铸成大错。真相大白后，韩玉莹如期参加比赛，徐东方却销声隐退……

八文钱的保镖

华凤的叔叔为夺取华家的家产，派杀手刺杀华凤。“形意拳”传人方云山成为华凤的保镖。方家为儿子云山找的媳妇杏儿，与杀手詹龙的弟弟詹岩青梅竹马。云山与华凤产生恋情，好友慕容川设计成全了他们两对的婚姻。

寒枝折不断电影版

北邑司大统领张小梅因梦中惨痛情缘无心婚配，伪装江州张府少爷，散播失落千年血珊瑚在他手中的谣言，一心引杀千刀来偷。退休暗探周青竹因过交不出房租、医馆即将被收走，为了保住医馆重出江湖，接下了针对血珊瑚的窃取计划。周青竹潜伏至张小梅身边，其实青梅二人的相遇全是张贵妃的设计，她知晓二人前情渊源，困锁深宫的她只盼撮合二人。

在里乔的阳光下

在里乔内的海滩度假时，一群少男少女成为朋友，他们相互帮助处理恋爱关系和夏季暗恋。

欧洲的某个地方

Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

封神训练营

献身

公映日期:  14. 03. 1985. 　　製作地区:  香港. 　　导演, 李作楠. 　　演员:  艾蒂, 八神康子, 金姬美, 张佩华, 常山, 彭刚, 吴燕, 刘引商, 荆国忠, 欧国珍, 王復雄, 龙头, 张宝荣, 李德顺. 　　香港 : 宝利影业(香港)有限公司, 1985. 　　本片是台湾导演李作楠的1985年的作品,他的导演老师是丁善璽,丁在影坛近二十年，可谓桃李满天下，跟过他的包括刘立立、董今狐、金鰲勋、李作楠等，日后都变成独当一面的好导演，而此片是李作楠中后期的作品了。 　　导演李作楠以拍古装功夫片见长,从1971年做助理导演开始拍摄的《落鹰峡》开始，到80年代初的十年间，拍摄里多部功夫片，其中不乏有传世的经典作品，象《南拳北腿沾阎王》，《南北腿王》、《亡命忍者》等，在1985年他拍摄了《献身》这部动作功夫片，在片中加入大量色情成分,此片的女主角艾蒂,就...

亢奋 特别篇

HBO确认将拍摄《亢奋》“新冠特别篇”，为两季之间搭桥HBO剧集《亢奋》（Euphoria）斩获了今年的三项艾美奖，包括赞达亚（Zendaya）获得的剧情类最佳女主角，使她成为该奖项有史以来最年轻的...

修行

如果中年人生是一场修行，该期待的是顿悟，还是在矇眼的黑暗中放慢呼吸？模范主妇严太太在买菜煮饭、带狗看医生的琐碎日常中，持续过着灵修人生；上班无趣，下班无处可去的严先生，也日复一日地过着“修行”般敬而远之的婚姻生活。直到严太太意外接到一通电话，得知多年前丈夫短暂出轨的对象住进了疗养院的消息，原本凝固的日子便开始掀起波澜?? 　　《修行》改编自作家王定国的短篇小说《妖精》。导演钱翔再次携手金马影后陈湘琪，搭配金马影帝陈以文饰演一对感情零温度的夫妻，全片探讨中年婚姻危机与难解的人生课题，以细腻而诗意的影像语言，对情感与人性层层剖析。如果无爱的婚姻是一场修行，该盼望的是回应，还是在无声的日子里得过且过？

密道追踪之阴兵虎符

阴山脚下古城镇惊现古墓遗址，据传墓主人是后辽传奇丞相耶律乞努。千年古墓重见天日，尘封宝藏价值连城。平静的古城镇一时间潜流暗涌，跨国盗墓集团、中原各大盗墓门派早已齐聚此地，你争我夺只为传说中神秘的无价之宝——“阴兵虎符”。想进古墓必须先找到隐秘的通关密道，而密道中更是暗藏机关重重……

地下凶猛

影片讲述了富有作家孟元想与当年的恋人金香玉再续前缘，在十年前搬到金香玉住处的对面别墅住下来，期望能得到恋人原谅。没想到孟元的管家勾结小吃店的耿爷等人，意欲通过挖地道来盗取孟元密室里的财物。一段鸡飞狗跳的闹剧就此拉开帷幕，低矮肮脏的地下密道让几位主角土味儿冲天，也给观众带来一幕幕充满着黑色幽默的爆笑情节。