内容简介
密苏里州西北部奥萨克地区17岁的少女芮（詹妮弗·劳伦斯 Jennifer Lawrence 饰）独自照看生病的母亲、12岁的弟弟和6岁的妹妹。芮的父亲屡次因制毒成为警察追捕的目标，这次也不例外，数月潜逃未归。眼看出庭日近，芮得知若父亲不出现，作为抵押，全家居住的老屋就要 被法院收走。芮决定寻找父亲的下落，哪怕这意味着她必须接触她那些靠制毒贩毒为生的危险远房亲戚。芮最先求助于叔叔“泪滴”（约翰·哈克斯 John Hawkes 饰），却被赶了出来；她又去找远亲茉莱（德尔·迪克 Dale Dickey 饰），还是被无情驱逐。眼看上庭日迫在眉睫，芮也顾不得众人的劝阻，在这个贫困而又危险的农业社区里一步步接近真相…… 本片获柏林国际电影节C.I.C.A.E.奖和青年影院陪审团奖（Tagesspiegel），以及圣丹斯电影节评审团大奖和华道索尔剧本奖。
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◎8.7▶这么多年
你想象过和前任久别重逢的场景吗？你会抱紧，还是逃离？从小生活在重男轻女环境中的女孩陈见夏（孙千 饰），在振华中学遇见了叛逆却善良的浑小子李燃（张新成 饰），他成为陈见夏生活里的唯一光亮。他们彼此救赎，却又遗憾分开。多年后，重逢的那刻才明白，以为是反复地爱上你，原来是，我一直没有停止过爱你。
◎6.6▶虎山行
于台湾大禹山及宜兰平原等地取景. 南宋年间, 金兵入侵中原. 山东军统帅耿京掳获金亲王格律罕、禁卫军参军厄里多等, 金人震惊提出换俘. 宋派参军姜尧会京同押金俘渡易水河. 出发前, 金营指挥完颜庆背信, 欲拦途截击. 京遂暗召已遁入空门的抗金英雄荆无忌助尧. 庆派完颜婉儿、休林刺探忌消息. 押俘大队投栈, 樵夫借口带路实乘机为金俘解枷, 忌发觉杀之, 庆助手井段欲杀忌, 忌杀退埋伏, 尧殉职前命忌负责押解金俘. 至易水河, 宋队陷入重围, 婉突然出现, 她与忌原为夫妻, 劝忌罢手, 忌不从. 渡河时庆突击, 婉为了忌倒戈. 忌终杀庆, 婉却伤重死在忌怀中.
◎8.8▶恶人当道
讲述一名已退隐的社团老大，因一群受收购重建问题被欺压的街坊而重出江湖的故事。
◎6.6▶我的干爹是个贼
农历腊月二十九，南方一个县城的客运站，小偷朱飞机盯上了两个孩子。16岁的女孩刘欣馨，11岁的混小子刘易斯。因为他们家里有价值不菲的翡翠项链。大年之夜过后，朱飞机准备到刘家行窃，同伙黑狗告诫未曾“破五”行窃于己不利，否则一年都会倒霉，可朱飞机根本不信这套。由于刘欣馨和刘易斯父亲将近一年未归，他们成了留守儿童，小姐弟愈发感到没有安全感。便来到了中介希望能找一个男保姆回家。朱飞机闻之认为是个混进刘家的机会，自告奋勇到刘家当男保姆。入夜。姐弟俩入睡。朱飞机惦记着翡翠项链，决定偷盗，不想被小姐弟狠狠捉弄一把，朱飞机这才想起，破五还没过，看来一切霉运皆因自己破坏了传统规矩而发生。在以后的日子里，朱飞机被迫赶着做饭，收拾屋子，送刘易斯上学的工作。时间一长竟然对孩子们产生了感情。而且期间还认识了刘欣馨的的班主任，美丽善良的孙婧芸。在孙老师的感召下，他们共同做着关爱留守儿童的事情。朱飞机的转变令黑狗不满，当他在客运站发现刘欣馨戴上翡翠项链，便抢了过来。朱飞机赶到为夺回项链与黑狗扭打起来，搏斗中朱飞机受伤。当孙婧芸和姐弟俩扶住奄奄一息的朱飞机时，朱飞机艰难地将带血项链交给刘欣馨。而朱飞机，却渐渐合上了眼。姐弟俩悲痛欲绝，救护车呼啸而至。
◎10▶仲夏夜玫瑰
卡西·莱蒙斯(KasiLemmons)导演处女作。讲述1962年美国南部一个医生家庭中发生的偷情故事。影片密集地充斥着家庭成员间的欺骗以及自欺，未来、过去与同样昏暗模糊的现在混合在一起。萨缪尔·杰克逊、林·威特菲尔德及莱蒙斯的丈夫冯迪·科蒂斯-豪的优秀表演使得影片血肉丰满。
◎8.1▶伯爵夫人
故事发生在20世纪30年代的上海，托德（拉尔夫·费因斯 Ralph Fiennes 饰）是一位生活和事业都陷入了瓶颈的外交官，整日混迹于欢场和酒馆之间。刚刚来到这里的时候，托德也有过宏大和高远的理想，但渐渐失去的视力和复杂的权谋争斗让他无法再在职业的道路上前进下去。 在一家夜总会里，托德结识了名叫索菲亚（娜塔莎·理查德森 Natasha Richardson 饰）女子。索菲亚曾是声名显赫的伯爵夫人，如今却沦为艳舞女郎，为了抚养十岁的女儿，她甚至不得不出卖自己的肉体。就是这样境遇相同的两人，不断的相互吸引着。不久之后，日侵华战争全面爆发，而此时，托德才发现了自己压抑已久的对于索菲亚的强烈爱意，这对心心相印的男女最终能否终成眷属呢？
◎9.9▶克林
一个名叫克林的垃圾工被他的过去所折磨，他希望能在平静的生活中得到救赎，但很快他发现他必须要和他过去的种种暴力行为进行和解。
◎3.4▶关于在短时间内的某几个人的经过
Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
◎6.1▶树妖
An urban husband and wife travel to the jungle and learn just how precious their relationship is.
◎7.6▶我推的孩子·终幕
真人电影以星野爱为中心、真人剧集以阿库亚为中心、预定2025年上映和配信
◎6.6▶昨日的记忆
《昨日的記憶》是由台灣最頂尖的年輕導演所分別執導的四段關懷失智老人的短篇故事，包含姜秀瓊的《迷路》描寫張震在街頭奔走尋找失智爺爺，卻與舊愛隋棠重逢，在所有人事已非的風景中，他們怎樣找回那些散失的片
◎9.1▶赌王出山
赌王携外甥刘风、表妹凌兰提着钱箱来到“金钩赌场”。他的对手是日本人小野与山本，一番斗技之后，赌王赢得所有钱财扬长而去。重返赌场的赌王不顾巡捕罗义的劝阻依然来到金钩赌场约赌。原来，赌王的朋友被日本人杀害，截去了为抗战前线购买药品的钱，他要讨回这笔债。满脸怒色的山本见到赌王一行甚是得意，他望着莲心姑娘白碗里的两只骰子都是六点，脸上露出奸笑。赌王识破他的伎俩，技高一筹，把山本搞得目瞪口呆。赌王带着刘风和凌兰拿着满袋的钱冲出赌场。山本气势汹汹地逼问莲心，扫地的瘸腿老头心疼地劝莲心去投奔赌王。小野和山本的上司龟田请来韩国赌台高手“全扫光”，以天皇御赐的宝剑和赌王的传家珍宝夜光杯作赌注，一决雌雄。赌王和全扫光各坐一方，赌王举杯将酒一饮而尽。这时刘风、凌兰与日本浪人打斗起来，全扫光拿走夜光杯，说改日再决高低。全扫光在街上看戴大头娃面具的杂耍人变戏法。杂耍人在他胸前一抓，那只夜光杯到了杂耍人手中，等他觉得不妙，赌王等已无踪影。赌王深夜潜入全扫光住宅，两人厮打起来，巡夜到此的巡捕将两人抓进捕房。两个巡捕撕去伪装，原来是刘风和司机。在赌王和莲心的一番肺腑之言后，全扫光折服了，将那只天皇御赐的宝剑抛入湖中。赌王将钱款交给罗义，并让刘风到根据地去。回来的路上，瘸腿老人告诉赌王莲心和凌兰被日本人绑架。赌王赶到赌场，看见她俩被吊在梁上，身着和服的瘸腿老头一脸杀气，原来他就是黑龙会头目龟田。激战中，凌兰为保护赌王，自己却倒在血泊中，身负重伤的莲心挣扎着扣动扳机将龟田打死。罗义赶来营救赌王。枪战过后，赌场一片死寂。