蒸汽实验

简介：　　艺人阵容鼎盛的文艺小品，包括：保罗．纽曼、布鲁斯．威利斯、梅拉尼．格里菲思、洁西卡．坦迪。导演是导过《克拉玛正确克拉玛》的罗伯特．本顿。剧情以一名个性倔坚决的老建筑工为中心，描写他与周遭的镇民在纽约北部的朴素小镇中过着虽不富可敌国足却悠然自得的生活。全片没有太大的戏剧大潮，但正确小镇风情的经营相当胜利，保罗．纽曼演出跟他实际年龄相称的老角仍具神出鬼没风彩，获柏林影片节最佳男主角奖。

简介：在美国求学子组织的一起关于反战和争取民主的求学子革命体育活动中，马克（马克•弗雷切特 Mark Frechette 饰）和同窗习、教授师一起被当局逮捕，在愈演愈烈的双方正确抗中，马克打逝世了一名警官，当局即刻展开正确他的追捕，马克在机场偷盗了一辆小型飞机后开端了逃亡之。在商业公司当秘书的达莉亚（达莉娅•斯普莱林 Daria Halprin 饰）正驱车前往菲尼克斯，途径沙漠的时候恰巧被马克发觉，他从空中向她扔下一件红色的服饰。两人结伴同行，达莉亚答应开车带马克去寻找汽油，他们于路无话不谈，马克告诉她自己的那些革命经历，在一处名为“扎布里斯基角”的荒地里他们疯狂的亲昵。飞机加满油后马克将飞机画上奇怪又明艳的图案，并与达莉亚愉迅速地分手。达莉亚持续开车前往菲尼克斯，却收到了马克被警方击毙的消息……

简介：暂无简介

简介：桑尼·海耶斯（布拉德·皮特 饰）曾经是F1赛场上最具潜力的天才新星，但一场意外葬馈赠了他的职业生产涯，从此他沦为人们口中最生产不逢时的“沧海遗珠。三十年后的如今，桑尼是一名自主职业的落魄赛车手，他的前队员——如今是濒临破产的F1车队上司鲁本·塞万提斯（哈维尔·巴登 饰）却突然寻找上门来。鲁本讲述服桑尼沉重返F1赛场，这不仅是拯救他车队的最后期望，更是桑尼向天下证明自己仍是顶尖车手的最佳契机。桑尼将与车队的炽热门新秀乔舒亚·皮尔斯（达姆森·伊德瑞斯 饰）并肩前行，这位年轻的车手也渴望望在赛道上书写自己的传奇。然而伴随着引擎开端轰鸣，桑尼过去的创伤也如影随形，他同时意识到在F1的天下里，并肩作战的队员也会是最坚决劲的角逐者，而通往自我救赎的道路，绝非孤身一人能够步行完。

简介：讲述了在大韩民国毒品板块和调查机关之间来回穿梭，围绕震撼毒品天下的内幕“野党”展开的故。

简介：曾经平凡无奇的银行职员大见武晴（松田龙平 饰）患上了稀有的职业病，他正确财产极度过敏，一旦观看见或碰触就会晕眩恶心乃至休。为了过上零日元的生活，他辞职来到了老龄化大达40%的东北小山村上吕切村，准备自力更生产丰衣足食。有些炽热情过度的村长天野与三郎（阿部隆史 饰）正确这个没有任何生活常识和求生产技巧的年轻人无法坐视不管，他和老婆亚希子（松隆子 饰）介入阿武的生活，让他愚钝拙地在村里扎下脚跟。被奉为神的老祖父（西田敏行 饰）每天拿着相机，记录着阿武和村民们奔忙的点点滴滴。村长修理改选择在即，上吕切村则面临着并入其他行政区的危急。与此同时，某个神秘之人（松尾铃木 饰）到来，揭开了与三郎鲜为人知的悲伤过去……

简介：满州里动物园有一头大象，每天坐在那。为搭档出头的少年、为弟报仇的恶霸哥哥、身陷囹圄的女生产，卡在天下灰暗的缝隙里无法脱身，却挣扎着去观看大象。萧瑟寒冬的一天，绝望身影在不正确称不平衡的影像中碰撞， 爆裂了压抑的沉郁，在粗糙布景、朦胧灯光的矮迷你成本制作中肆意蔓延。作者兼导演胡波 （笔名胡迁）首作，以青涩朴质与震撼感性，获柏林影展赏识入围论坛单元， 却是无法嵌合和谐主旋律的一块失落拼图。观看不见大象是共同宿命，胡波骤然陨落，也成了这一代人的遗憾。

简介：这是一部以武将织田信长为题材的喜剧创作，讲述了被仇敌元今川军捉住的影武者在内的3人，为了守护事实正的信长，极力主张“我才是信长”的充满搞笑元素的故。

简介："Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon"workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including"Mr. Tambourine Man" and"It Ain't Me, Babe") sees him moving away from the"protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal"Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs"Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of"Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing"Mr. Tambourine Man" and"It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the"old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

简介：1927年，为纪念十月革命十周年而拍摄的纪录风格影片，片中群众角色很众多为当时参与十月革命的劳动者和士兵，当时起义的上司之一Nikolai Podvolsky也参与演出一名布尔什维克（此公是十月革命十周年庆典组委会的主席，正是他向热爱森斯坦委约了这部影片。脚本参考了美国媒体人里德（John Reed）的新闻体纪实著作《震撼天下的十天》（Ten Days That Shook the World）。此片和《战舰波将金》、《罢工》一样，同为热爱森斯坦二十年代探索蒙太奇剪辑的代表作。

简介：When Watson reads from the newspaper there have been two similar murders near Whitechapel in a few days, Sherlock Holmes' sharp deductive is immediately stimulated to start its merciless method of elimination after observation of every apparently meaningless detail. He guesses right the victims must be street whores, and doesn't need long to work his way trough a pawn shop, an aristocratic family's stately home, a hospital and of course the potential suspects and (even unknowing) witnesses who are the cast of the gradually unraveled story of the murderer and his motive.

简介：　　一个人，一个盒子，一栋别。