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In British India, a young prince must be taken to safey across rebel-held territory, and an old train is the only way to do it.
It’s 1945 and Hitler is dead. The remaining Nazi leadership is expected to surrender any day but not all Nazis are in agreement. When the guards of the castle turned POW prison, Castle Itter, flee their post, a group of French political prisoners are forced to defend themselves. Rumors of a rogue Nazi captain hellbent on maintaining the Third Reich threaten the lives of all the prisoners at Castle Itter. With the help of members of the German resistance, a small band of American soldiers, and one Sherman tank, Castle Itter makes its final stand in the final hour of WW2.
Two lovers and a friend meet up for a game of golf. They are soon joined by a stranger who puts to the test the bonds between them and in the process reveals buried secrets.
一幫劫匪在打劫珠寶店後,留下一個寫着「法蘭克」的塗鴉,令公眾對這幫匪徒的行事動機很感興趣,到底他們有甚麼話要說呢?
楊程面對投身社會的無力感,她忽發奇想,與其正式找工作做社會奴隸,不如自己掌控命運,以自己的方法「做世界」,打造屬於自己的職業生涯。
在楊程初犯偷竊罪被捕,執行社會服務令時,認識同為犯罪初哥的黃軒及Franco,三人組成「法蘭克」。三人本是社會所遺棄的怪胎,但各自身懷奇技,走在一起既能互補又可並肩作戰,目標是要向奸詐的富商們搗亂,大鬧一場。
他們搶劫鐘錶行,竟然有驚無險,順利得手。其後為了增強兵力,「法蘭克」招攬了專以富裕人士為對象的出租女友Chantal,向醜陋的上流社會宣戰!
同時,上流教會聖德堂爆出醜聞,指控富豪教徒們借教會奉獻為名來輸送利益,而教會執事代表富豪何家宏成為眾矢之的。花甲之年的何家宏在記者會中澄清,並嘗試轉移傳媒注意,除了否認聖德堂的黑錢醜聞外,更把記者會的焦點集中在「法蘭克」的連環劫案,發表了一番貶低年輕人的言論,引起軒然大波。「法蘭克」眾人憤憤不平,認為何家宏根本作賊心虛而要聲東擊西。
正當「法蘭克」在打劫一家找換店時,意外被捲入聖德堂的洗黑錢陰謀。這次劫案帶來的危機,是「法蘭克」始料不及的……
“没有人、也没有任何地方能永远真实”,戈利亚尔达·萨皮恩扎(Goliarda Sapienza)在《怀疑的确定性》(Le certezze del dubbio)中写道。这部作品讲述了一位作家因一次疯狂而意外的行为入狱的故事。在罗马的雷比比亚监狱中,她与几名年轻囚犯相遇,这段经历成为她某种意义上的“重生”契机。出狱后,在罗马那个仿佛时间停滞的酷热夏日里,她继续与那些曾建立深厚羁绊、如今同样重获自由的女性们会面。一种深刻的关系由此展开,并对她的生活产生了决定性影响——这种纯粹的情感联结,是外界永远无法理解的。这位作家正是戈利亚尔达·萨皮恩扎本人,而这是她亲口讲述的、属于她的故事。
Shaan, a special force officer, is assigned to investigate a complex human trafficking network in the Southeast Asia region. He uncovers the extensive reach of the trafficking syndicate, revealing connections that challenge his perceptions of law and order. As Shaan delves deeper into the investigation, the timing gets even more critical, as people around him are murdered one by one. He must find the elusive mastermind David behind syndicate before it's too late.
An old woman, Filomena, is hurried into the emergency room. The young man, who brought her, Matias, is very nervous. The nurses were drawn to him as he’s very good-looking. They think he’s her grandson. Filomena’s condition has stabilized but she needs further tests. At night, Matias visits her and Luna, the nurse on duty, is touched at how warm and close Matias is to the lady. Then Luna finds out something surprising yet heartbreaking-Filomena and Matias are lovers. Matias is a vampire whom Filomena when she was young. Their love was uncontrollable. Matias promised Filomena that he will not give her the curse of being a vampire- even if Filomena wants to be with him forever. Now that death is in the middle of their love, will Matias broke the vow so that they can continue their unconditional love forever? Will he allow death to take the woman that he loves? Luna in the end learns one of the greatest lessons about love and sacrifice.
在天眼尚未密布,监场保安仍会打瞌睡的二十世纪七十年代,名画大盗就是会光天化日,大剌剌走进美术馆,直接把猎物从墙上取下放入布袋运走。看似儿戏的一切,背后主谋还要是住在市郊、人畜无害的住家男人。凯莉·莱卡特完全弃用好莱坞盗宝片叙事公式,改以其擅长的左翼简约主义镜头,捕捉触犯艺术罪行者的日常生活、双面人的言行处境,以及事件周遭人情冷暖。阿瑟多夫的抽象画作未必是一个借口,但到头来凸显存在荒谬的公路逃亡,俨然为观众添加了不少欣赏和思考的层次。
本片改编自同名韩漫,前篇将于2025年3月上映,后篇将于同年5月上映,讲述了两个帅哥争夺化妆后的女神,是一部令人心跳加速的三角关系爱情喜剧故事。主人公丽奈,因为朴素无趣的容貌在学校被欺负,不久就不去上学了。但是,与化妆的命运的相遇使她发生了巨大的变化。从零开始学习技巧,不断努力的结果,完成了谁都回头看的“女神”的大变身。
罪恶级的美丽,以及转校后辉煌的学校生活。告别过去的自己,重新开始完美的人生的丽奈,因为意想不到的意外被同班的男生俊看穿了素颜的秘密,由此展开了意想不到的波折。
影片翻拍自1992年的同名恐怖片。
Caitlin(玛丽·伊丽莎白·温斯特德 Mary Elizabeth Winstead 饰) 聘请到一位似乎完美的新保姆 Polly(麦卡·梦露 Maika Monroe 饰)以为从此可以安心,殊不知保姆暗藏心机……一切幸福,原来只是噩梦的开始。
More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far.
