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红岛
Madagascar, au tournant des années 1960 et des années 1970. Sur une base aérienne de l’armée franaise, les militaires vivent les dernières années insouciantes di colonialisme. Influencé par ses lectures de Fantmette, Thomas, un enfant qui n’a pas encore 10 ans, se forge progressivement un regard sur le monde qui l’entoure…
导演：暂无 主演：娜迪亚·特列什科维奇/基姆·古铁雷斯/CharlieVauselle/AmelyRakotoarimalala/HuguesDelamarlière/索菲·吉耶曼/DavidSerero/LunaCarpiaux/MitiaRalaivita/CathyPham/MathisPiberne/SachaCosar-Accaoui/LucilleBernier/MathildedeSampaio/FranckMercadal/VincentSchmitt/朱莉·穆利耶/ThiPh
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◎5.7▶梦男—死亡交友
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◎3.4▶蓦然回首
故事主线为该片主人翁丁植嘉与妻子孟可儿因生孩子问题而发生争吵，随后夺门而出酒后散心，心烦意乱之际，邂逅了因丈夫陈明远冷落了妻子苏紫30岁生日而恼火，穿着睡衣离家出走的苏紫，两个陌生人的相遇，都需要安慰的时刻，两人互诉悲愁，慢慢的抛开了不开心的情绪，随之时间的推移，相互都有共同爱好的两个人渐渐的越走越近。
◎4.6▶魔戟战神
生活中失意的吕飞意外进入游戏中，而他想要回到现实生活的唯一办法就是完成游戏关卡，于是吕飞开始了漫长的闯关之路。吕飞在寻找沉木和钨铁的途中，遭到了董拙等一派人的追杀，也结识了貂蝉和臧霸等人。吕飞被貂蝉的美貌和温柔所打动，几欲动情，却反遭貂蝉背叛……
◎6.1▶时空救赎
五位从小就生活在云南边陲小镇的男青年，为了实现梦想，每天努力挣钱但仍满足不了物欲横飞的现实社会。老四阿喆还要筹钱给未婚妻治病，更是苦恼。五兄弟每天都做着发财梦，为了实现各自的目的，准备“实施”一场对珠宝店的抢劫，却因此陷入了一场巨大的危机。
◎5.9▶鲛绡碧
在长安暗无天日的毒霾中，柔弱美丽的鲛人漪下成为刑部侍郎车远山的男宠。他是真情，他却以为自己是假意。为了保护他，车远山出卖了漪下的姐姐漪柔。怀着恨意逃出长安的漪下，终于带着复仇的尖刀，再次回到车远山的面前…… 人物小传： 车远山：男性，25岁左右、年轻的刑部侍郎，世代名门之后，外表英俊年轻有为，妻为丽阳公主深受皇帝及实力派皇子的信任负责捕获鲛人。但却深深地爱上了鲛人王子漪下，车的出场以硬汉形象示人其天性高傲、固执、少言寡语、做事雷厉风行。 丽阳公主：女性，24岁左右、皇帝宠女，夫妻情深爱车胜过一切。端庄、温婉、大气、美丽，时刻透露出贵族气息，识大体。但内心刚强为爱不惜牺牲一切。 漪下：男性，25岁左右、实际年龄180岁，鲛人国王子，国家发生动乱后与支持者流落中原，单纯善良执着是其最大的性格特点，拥有者世间少有的绝世美貌。 龙骨离：男性，24岁左右、龙兽王子，控制鲛人国的大反派。龙人出售鲛人国的眼泪和棉织物给人类谋利进而使自己达到掌控鲛人国的目的，性格，阴险、狠毒、狡猾、贪婪，是他的内心。表面真诚、温和。 韩王：男性，26岁左右、丽阳公主的哥哥，太子热门人选，娇宠的皇子，车远山儿时的玩伴，长大后因身份差距有了疏离。性格好色、耳根软、容易亲信谗言、没主见。 岑孝：男性，25岁左右、车远山贴身助手、长相英俊帅气、对主人忠心耿耿、高智商。 晚晴：女性，25岁左右、丽阳公主贴身丫鬟、长相漂亮、内心喜欢韩王、心思缜密但对丽阳公主很忠心。
◎6.2▶西游超级粉
故事发生在4个小学生身上。 这一天，他们被一片描述自己家乡的作文难住了。争论后，大家决定乘坐万能机器人布鲁变出的时光机，到远古参观旅游寻找灵感。可无奈卷入了一场外星人侵略原始部落的离奇事件中。最终4个小学生通力合作，成功的战胜了强大的外星人，帮助新结识的朋友小曼拯救了浓眉族原始部落。喜悦中大家发原始部落正是自己家乡的原型。就这样他们回到现代，经过这次大冒险，每个人都满意的写出了一片满是真心话的作文。
◎9.7▶一克拉的室友
雖然年逾四十，但仍保有個人魅力的朱紹忠〈謝祖武飾〉， 依舊受到女學生的崇拜， 但他始終沒有越界， 在死黨郝建新〈那維勳飾〉、詹柏園〈狄志杰飾〉眼中， 朱紹忠是個從不折不扣的妻管嚴， 今年是他跟妻子沈孟芝〈蔡淑臻飾〉結婚的第九年， 所有的一切都像是理所當然， 這些年來，他們依然親吻、擁抱、做愛， 但卻不全然是因為愛， 重疊的部分， 似乎只稱得上是住在同一屋簷下的室友。 就在此時，樓下搬來了一對母女， 這個叫李琪琪〈陳語安飾〉的小女生， 無意闖入了朱紹忠的生命裡， 她所有叛逆瘋狂的行為， 都在挑逗著朱紹忠的每一根神經， 而另一邊，為了遊說朱姓夫婦賣掉公寓， 房仲游輝凱〈邱昊奇飾〉三番兩次的來訪， 隨著交集漸多， 他發現沈孟芝跟他所遇過的女人不盡相同， 一種特殊情愫發酵， 同時間，朱紹忠也展開一段他從未體驗過的激情， 這對貌合神離、激情不再的夫妻， 當再度遇見愛情， 究竟會叛逆一次？ 還是緊守住原有的幸福？
◎9.9▶出轨风暴
维也纳法国社区。一对幸福的中产阶级夫妇。直到妻子发现丈夫出轨后决定展开报复，然而所有人都陷入到一场不可逆转的事故中
◎3▶燃烧的国土
After being exiled from Afghanistan, a former war journalist settles in a small town in northern California and takes a job with a local newspaper. But when he attempts to cover local crime, he stumbles into local corruption that puts himself and others in danger.
◎5.7▶再爱24小时
影片讲述了3段感人至深的小城爱情故事，通过剧中三对青年男女的凄美爱情，把当今浮华社会下渴望真爱的美好梦想淋漓尽致地呈现在观众面前。警示人们生命的脆弱，要懂得珍惜身边的人和现在拥有的生活。即便走到了生命的尽头，即便时光可以倒流，也要精彩的面对每一分每一秒，不要给人生留下遗憾。
◎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.
◎4.3▶掮客
相铉（宋康昊 饰）经营洗衣店，可惜生意淡静更负债累累。好兄弟东秀（姜栋元 饰）本身是孤儿，为“婴儿暂存箱”机构工作。在一个雨夜，他们竟秘密带走其中一个箱里的男婴。翌日，年轻的母亲文素英（李知恩 饰）却找上门要求领回自己的孩子羽星！本想报警揭发，但素英最终竟同意让两个“中间人”为儿子寻觅更好的父母，并决定跟随两人同行。另一边厢，刑警秀珍（裴斗娜 饰）联同后辈李刑警（李珠英 饰）原来一直跟踪着他们，暗中收集证据，决心拉人定案！剧情由暂存箱里的婴儿引发，牵连周遭5个关键人物，展开一段意想不到的独特旅程，触动最微妙的世故人情。
◎--▶欢迎回家，宝贝
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◎--▶万恶之恶
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◎--▶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
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◎--▶猎虎贰
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◎--▶港城大劫案
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