脱衣舞娘2012
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剧情简介
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家务清官
马群,王苏娅,浦克,李俊海,耿晓璐,徐守莉,康保民,欧阳儒秋,张百爽,吴波,朝鲁,于莲芝,魏启仪,纪恒普,胡乐佩,江帆大卫2025
菲尔·威肯 ,阿西姆·乔杜里,米克·温格特,阿什利·博彻,马克·惠顿,布伦特·穆卡伊,Brandon Engman,Kamran Nikhad,Reina Ozbay,Will de Renzy-Martin,亚当·迈克尔·戈尔德,亚当·梅尔,Lauren Daigle,Mark Jacobson,凯蒂·伯恩斯坦,Brian Stivale,Sloan Muldown,马克·西尔弗曼,Mike Ciporkin,Dorah Fine,沙哈尔·塔沃赫雾人前传
迈克尔·罗伯特·布兰登,迈克尔·穆内,迈克尔·穆内空中惊魂2025
汤姆·阿诺德,Tania Fox,Landon Tavernier怨林深处
米歇尔·齐迪斯,里罗·得万托,Ariqa Fakhirah Shakila,塔斯卡娅·纳米亚,伊梅尔达·塞林,Dewi Pakis,Whani Darmawan,普里特·蒂莫西,德拉·达蒂安,鲁克曼·罗萨迪,Agus Kuncoro,鲁思·马里尼,Saputra Kori,Agung Bla,Aldy Pratama逃出食人农场
Kate Marie Davies,Barrington De La Roche,David Lenik,Rowena Bentley,Toby Wynn-Davies,Peter Cosgrove,Joe Street,Dylan Curtis,Sam Lane,Jackson Wright,Kate Llewellyn,Adam J. Morgan,Tim J. Henley,Harrison Nash,Jack Miller人气佳作
最后的佣兵
尚格·云顿,阿尔班·伊万诺夫,Samir Decazza,阿萨·西拉,埃里克·朱多尔,帕特里克·坦西,缪缪,Djimo,纳西姆·斯艾哈迈德,范蕾丽尔·卡帕里斯基,菲利普·莫里尔-热努,Michel Crémadès,Ismaël Sy Savané,Yury Sapronov,奥莱克西·戈尔布诺夫,法萨·布亚梅,David Charhon,迈克·加萨威,罗科·纳瓦,博格丹·尤西普丘克快递侠
彭禺厶,曹天恺,杜冯欣怡,贾清茹鬼们之蝴蝶大厦
尹馨,曹佑宁,冯淬帆,白润音,蔡振南,庄凯勋,安心亚,曾莞婷后裔
乔治·克鲁尼,谢琳·伍德蕾,阿玛拉·米勒,尼克·克劳斯,帕特丽夏·哈斯蒂,凯·哈特·赫明斯,博·布里奇斯,马特·科博伊,马特·埃斯克森,迈克尔·昂吉恩,斯坦顿·约翰斯顿,米尔特·科根,玛丽·伯德桑,罗布·许贝尔,莱尔德·约翰·哈密尔顿,罗伯特·福斯特,马修·里沃德,朱迪·格雷尔,斯科特·迈克尔·摩根导演精选
假如比尔街可以作证
《月光男孩》导演巴里·杰金斯日前敲定新片，他将把知名作家詹姆斯·鲍德温的小说《假若比尔街能够讲话》(If Beale Street Could Talk)搬上大银幕，故事设定于上世纪70年代的纽约哈林区，主角是一对刚订婚的年轻情侣芬尼(Fonny)和蒂什(Tish)。芬尼被诬告强奸，而身怀六甲的蒂什将四处奔走寻找证据证明丈夫的清白。梅根·埃里森创立的安纳普尔纳将投资本片，也将和《月光男孩》制片公司Plan B、杰金斯本人的Pastel工作室一同制作本片，10月开拍。
武侠七公主
明朝中叶，倭寇不断骚扰东南沿海，东瀛柳生一族辅佐德川家康之余亦要席卷中原武林。于是“东瀛霸刀”柳生（任达华饰）杀入武林、所向披靡，亦要向中原武林第一高手“天剑”独孤无极（刘松仁饰）挑战。独孤无极正要与新婚妻子梦青丝（杨紫琼饰）成亲，却不得不为此事拖延。他向“鬼医”（吴孟达饰）求助，遂用剧毒将自己功力提高数倍。比武之日，独孤无极力战柳生，将其赶走，自己却被体内毒气错乱神经，以致糊涂杀死山庄里无数友人，并气走青丝。青丝自此男装打扮，化名独孤贞，杀尽天下负心人。 鬼医弟子吴通（张卫健饰）为了逃避年纪比他大许多的未婚妻牛娃（郑裕玲饰），成婚当日逃走，巧遇微服出游的天香公主（张曼玉饰）和贴身侍卫（吴君如饰），三人发生争执，此时独孤贞出现解围。而此时镇上却在传言梦青丝在妓院摆出迷魂阵召贤比武的香艳传闻，惊讶的独孤贞于是与吴通一起前去探个究竟......
从今天到明天
Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.