点击播放《爸爸，你别骗我》
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爸爸，你别骗我
小学生肖仪非常迷恋航模飞机，爸爸说好带他去看航模飞机比赛，却因爸爸被委任为印刷分厂厂长，工作忙而屡屡食言。肖仪父亲接印的却假冒“大力神”口服液的伪商标。肖仪发现后，和爸爸发生了冲突。回到家后，爸爸向肖仪解释自己不知造假的事。肖仪相信了他，爸爸送了一架航模飞机给肖仪。一天肖仪在家里接到一个恐吓爸爸的电话，便决定和小伙伴们去寻找证据，不料被造假的草头王一伙关了起来。并发现爸爸也被关在里面，父子俩紧紧搂在一起。肖仪把航模飞机从窗口放出去给外面的小伙伴送信，他们立即去报警，一举捣毁了这个造假黑窝。
导演：暂无 主演：方子哥/李骁/谭希和/郝婷婷/耿域/张嘉益
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◎5.7▶十里寒路赢天下
建文年间，不动峰的长老，周三绝指使周从筠偷窃武林至宝擎天印，嫁祸给“邪教”九千阁。九千阁宗主隋元宁是个草莽侠客，他掌管的九千阁千术卓绝，推崇蛊毒，行事独来独往。 届时江湖上有四个行事诡异、剑走偏锋的“妖女”，其中三位正是九千阁的琴女、毒女和蛊女，最后一位行踪神秘，人称“罗刹仙子”周从筠。在追查擎天印被盗案期间，隋元宁屡次与周从筠暗斗明争，结果两人棋逢对手，竟互生好感。 周从筠在生父和隋元宁相斗时从中阻挠，她救了隋元宁，却被周三绝误杀，香消玉殒。周三绝苦心经营毁于一旦，身败名裂，独女身亡，在多重打击下失心发疯。周三绝从此在江湖销声匿迹，武林至宝擎天印与共工剑回归原位，九千阁也终于洗脱冤屈。
◎9▶绝美之城
罗马，夏日，一队穿梭其中的游客。这座美得令人窒息的古老城池，正以一种神秘而冷艳的姿态诱惑着他们，让人心甘情愿地被这份精致得令人绝望的美丽所俘获，沉醉其中。然而在捷普·甘巴尔代拉（托尼·瑟维洛 Toni Servillo 饰）眼中，罗马却是一座寂寞之都。65岁的捷普是一名成功记者，风度翩翩、魅力十足。年轻时代撰写的一本文学作品让他在早年就名利双收。他辗转在各样肆意妄为的奢靡与觥筹交错的社交之中，用一双冷酷到几近麻木的双眼，目睹这座绝美之城背后的空虚与隐秘。当女高音的咏叹调再次响起，游走在平民生活与上层社会之间的捷普，开始重拾那些逝去的青春记忆，只有罗马之城仍依旧着她的冷漠与华美，不曾改变。 本片斩获2014年第86届奥斯卡金像奖最佳外语片及2014年第71届金球奖最佳外语片两项大奖，并入围2013年第66届戛纳电影节主竞赛单元-金棕榈奖。
◎7.6▶随身危机
在神秘旅客的勒索之下，年轻的运输安全管理局员工让一个危险的包裹登上了平安夜的航班，他必须与这个神秘人斗智斗勇。
◎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.
◎4.2▶枷锁
剧情简介暂缺，敬请期待
◎7.6▶心理医生
精神科医生试图在暴力攻击后，通过寻求修复一个新病人的生活，使他的生活恢复在一起，但他有自己的可怕的历史。
◎10▶二小放牛郎
抗日战争时期，河北省涞源县上庄村，有个放牛娃王二小（丁俨 饰），父母被鬼子杀害后他参加了儿童团。一次，八路军县大队打了一个漂亮的伏击战，吃亏的鬼子展开疯狂扫荡，到处寻找八路军后方机关和伤病员。二小主动请缨进城为伤员买药，立功心切的二小满以为完成任务会得到货郎爷爷的表扬，不料对他未经批准独自行动的做法货郎爷爷进行了批评。进山送药途中，货郎爷爷遇难牺牲，小伙伴告诉他，舅舅狗剩当了汉奸，二小不敢相信自己的耳朵。鬼子小野带人突然包围了村子，威逼乡亲们说出八路军后方机关，残忍杀害了小伙伴秫秸，二小挺身而出，说自己知道八路军在哪儿，叫小野放过众乡亲。小野信以为真......
◎6.1▶疯狂一天
He has 60 minutes to save his daughter but, if he does, he will go to jail.
◎5.7▶学校风云
中五在读的朱婉芳（袁洁莹 饰）与郭小珍（李丽蕊 饰）本是一对儿普通的中学女生，直至帮派分子刀疤试图接近朱婉芳，在校门口殴打一名不良学生致其意外身亡。警官海哥（林正英 饰）要求朱婉芳出面作证，虽然刀疤之大哥潇洒（张耀扬 饰）恶语威胁，但朱婉芳有感温老师（刘松仁 饰）与海哥的正气，终于指认嫌凶。潇洒大为光火将朱婉芳掳走勒索，温老师在众目睽睽之下却无力保护自己的学生。为偿还欠款，朱婉芳与郭小珍打工度日，刀疤从旁默默相助终于令婉芳留意他温柔的一面。不久郭小珍发现男友佐治背叛，伤心欲绝之际遭车祸身亡，朱婉芳的世界，突然间分崩离析…… 本片是林岭东风云三部曲的最后一部，剧本仍由其兄林岭南（南燕）操刀。
◎8▶假日之旅
赛巴斯提安和玛雅是非常不同的两个人。当玛雅的未婚夫在圣诞节和她提出分手，她接受了造访西部亲人的邀请。她在12月22号到达机场，发现赛巴斯提安也在飞机上。但命运还有更残酷安排的等着她。天气问题迫使所有航班取消。塞巴斯蒂安又有了一个计划租一辆车一起开到西部去。这次意想不到的事情发生了，他们爱上了彼此。因为和各自的亲人共度了圣诞，他们意识到彼此才是自己最想要的人。
◎3.7▶摇滚英雄
故事发生在1994年，武为（秦昊 饰）是一位热爱音乐的摇滚青年，凭借着自己的努力和天赋，武为的乐队在摇滚界里很快就获得了极高的声誉。与此同时，李爱（李梦 饰）和姜茜（马恺曼 饰）两位温柔美丽的姑娘出现在了武为的身边，令他心动不已。然而，站在梦想和爱情的十字路口，武为做出了令他后悔一生的决定。 一晃眼二十年过去，曾经的风光早已经不在，如今的武为不过只是一个酗酒闹事无所事事的中年人而已，就在他自暴自弃之时，一位名叫春晓（刘亚瑟 饰）的妙龄少女出现在了武为的生活之中。春晓的乐观和向上给武为带来了生存的希望，两人之间的感情迅速升温，变得暧昧而又复杂起来。
◎10▶O的故事
在〇（柯瑞妮·克莱瑞 Corinne Clery 饰）的内心里，有关雷尼（乌多·奇尔 Udo Kier 饰）的一切都是神圣和至高无上的，包括被雷尼带到一幢神秘的郊区别墅里接受残忍的SM女郎训练。在那里，〇如同一个动物那样失去了全部的尊严，即使是在这样的黑暗阴影里，每当想到雷尼，〇依然觉得生命充满了温暖和希望。 〇散发出了惊人的魅力，所有遇见她的男人都在冥冥之中被她所吸引，包括雷尼的表哥史蒂文（安东尼·斯特尔 Anthony Steel 饰）。渐渐的，〇明白了这个邪恶世界的生存法则，也明白自己和雷尼永远也不可能终成眷属。〇利用自己的美貌，逐渐的扩张着自己的领地，直到所有的男人都臣服于她的脚下。
◎--▶热血大陈岛
影片以大陈岛垦荒历史为创作底色，在尊重历史真实性的前提下，以年轻化、科技化的光影语言活化红色记忆，生动诠释了“艰苦创业、奋发图强、无私奉献、开拓创新”的大陈岛垦荒精神，斩获第五届亚洲国际青年电影展金兰奖“最佳AI影片”等两个奖项。
◎--▶破暗
暂无简介，敬请期待
◎--▶猎虎贰
暂无简介，敬请期待
◎--▶港城大劫案
暂无简介，敬请期待
◎--▶走马观花
新波，丁大宁，郭华，程一木他们毕业于同一所大学。他们和很多年轻人一样，自以为是，敏感错弱，没有被认可的才华。他们来自不同的地方，却有一个共同的愿望“出人头地”。在经过几段荒唐的创业求职后，他们选择了逃离。从都市到县城再到无人区。 这是一部关于青年成长的故事，当他们面对婚姻，家庭，事业的时候，他们依旧像没有长大的孩子。可时间不会听你解释，它已经熟练的将你送入人生的另一个轨道。他们开始慌张，计划逃跑。像失恋的少女一般，指责对方的背叛，同时谁也无法忘记那些美好的时光。
◎6.8▶最后孤屋
一个普通的一家四口突遭诡异变故，被困在自家房屋中超过 1000 天无法出门。在资源消耗殆尽与未知神秘威胁的双重逼迫下，一家人必须想方设法联手求生，打破这间禁锢生命的困局。