初吻1980

薇卡（苏菲•玛索饰）是个13岁的女孩，不同于班上的其他同学父母离异的状况，她拥有一个完整的家庭，虽然她总是觉得被母亲忽略，伴随青春期到来的，除却敏感的对父母之爱的需要，还有对异性情感的渴望。然而，父母的感情出现了裂痕，母亲与薇卡的德语老师燃起了爱火花；而在舞会上认识的拉乌尔，让她感受到初恋的美好同时也领会了爱情的伤害。有了初吻之后，爱情就能保鲜吗？13岁的初恋能持续到多久？苏菲•玛索凭借此片成为欧洲影坛著名的小明星。

法律与秩序：特殊受害者第十六季

青葱时代

A fourteen year old girl meets her uncle who has never really ysgou.cc grown up.

放学后联盟

热爱街舞的男孩小叮当在爸妈生了二胎妹妹后，便感觉自己不再受宠，与爸妈产生了一系列误会。为了博得父母的关注以及坚持自己的街舞梦想，小叮当联合自己的几个小伙伴策划了一系列绑架自己、出走等荒唐的恶作剧，但也因此陷入了真正的危机。

饼干警长之乐园计划

我，总弄巧成拙但也能化险为夷；我，能幽默搞笑也能英勇无敌；我，时而一根筋时而细致入微。我就是偶像派与实力派的综合体——饼干警长！我，是这座美味的甜品城的守护者——陪甜筒女神像祈福，在芝士凯旋门唱歌，到奶酪金字塔仰望星空……这些帅得掉渣的建筑设计点亮了我们的世界，也让我们的《饼干警长》独一无二。

黑暗与邪恶

在一座偏僻的农场上，有一位男子慢慢地走向死亡。他卧病在床，挣扎地吸吐他最后几口气。他的妻子逐渐被沉重巨大的哀伤压垮。两人的一双儿女Louise（玫琳爱尔兰MarinIreland饰）和Michael（小迈克尔阿伯特MichaelAbbottJr.饰）回到农场上，要协助母亲走过伤痛并和父亲道别。Louise和Michael很快地注意到母亲不单只是被悲伤所困扰。随着姊弟两人的悲伤加剧，他们开始感受到一股黑暗力量，恶梦般的事件接踵发生，这故黑暗力量似乎想要吞噬他们一家人。

亲爱的敌人

多数人向往温暖美好的婚姻与家庭，但随着时代发展，压力倍增，焦虑、猜忌、背叛……导致婚姻危机频繁爆发。当婚姻走向分别，婚姻家事律师（俗称离婚律师）出现在大众视野。本片通过4位个性迥异的家事律师的视角，讲述一个个真实、跌宕起伏的婚姻家庭故事。家事律师用职业素养和人性温度去剖析婚姻症结、治愈当事人的伤痛，更用法律维护他们的权益。本片透视当代婚姻与家庭现状、探讨家事律师在情与法之间的意义和价值，希望以此启发人们重塑美好生活。

魔鬼代言人

凯文（Keanu Reeves饰）是个保持不败记录的年轻律师，娇妻相伴，事业有为的他宛如生活在天堂一般。受到纽约著名事务所的邀请，他携妻子来到纽约。奢华的生活近在眼前，一切似乎都昭示着明天的坦途与光明。   

丛林大反攻

棕熊布哥是个幸运儿，他被收养者宠得一塌糊涂，生活安逸舒适。然而现在他却被放归森林，对大自然的艰苦极不习惯的布哥一心想回城，黑尾鹿艾略特的出现却改变了他的计划。艾略特被猎人撞断了一只角，绑在车中运往镇里。布哥犹豫再三，终于救走了艾略特。这个决定让布哥再不能顺利的回到以前的生活。艾略特拜恩人布哥为兄弟，跟着布哥一起前行，并且引诱他来到野丛林好好“享受”。布哥来到丛林，才发现这里的条件太恶劣了，根本不像城里舒服。而且，他们还犯了一个错误，让动物们陷入狩猎区当中，重重危险面前，布哥的野性被逐渐唤醒，他和动物们组成兵团抗击敌人，上演一场轰烈的家园保卫战。

不安分的年轻人们

Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...　　　　Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.　　　　Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.　　　　Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.　　　　Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

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