为治疗盲女画家的眼疾，一直过着平淡生活的送餐员前进（于新博 饰），决定想办法弄到一笔钱，却被卷入了一场走私交易，身陷危机。前进与各路人马斗智斗勇，在此过程中发生了不少让人忍俊不禁的乌龙，结尾处的反转又让人怅然若失。

圣丹斯国际电影节上，一部名为 Tangerine （《橘色》）的电影受到了很多关注。这部影片的主题很新颖，讲述的是在好莱坞不那么光鲜的角落里工作的变性妓女；人物性格冷酷、有趣、有从不让人欺负的个性。不过，最令人吃惊的是，这部电影的导演 肖恩·贝克放弃了专业电影拍摄装备，选择 iPhone 5s 拍摄电影。很多业余电影爱好者使用 iPhone 录制电影，不过，Tangerine 是第一步全部使用 iPhone 拍摄并在圣丹斯电影节上展出的电影。肖恩·贝克使用 iPhone 5s 拍摄视频，并使用价值8美元的视频应用 FilmicPro 。肖恩·贝克表示，由于自己的预算有限，才选用了 iPhone 拍摄。当然，使用 iPhone 拍摄有一定的优势，比如无需从洛杉矶市政厅购买电影拍摄许可。

卡齐姆喜欢在放学后跟小伙伴们一起踢足球，而不是待在家里做作业。得知国家足球队将在德黑兰举行比赛，他就想方设法前去观战，甚至不惜偷窃父母的钱财。当他乘坐公共汽车日夜兼程赶到德黑兰时已是筋疲力尽，就在比赛开始前躺在球场附近睡着了。

宫泽饰演的主人公井川迅因为害怕被周围人知道自己是gay而独自从东京来到乡下，他曾经喜欢的日比野渚（藤原季节）却时隔8年带着女儿再次出现。

A portrait of the myth of maternity around the story of Pepa and her daughter, who are asked out of their home and forced to wander for a place to live with no support network.

导      演王晓民　　编      剧王晓民　　主      演金戈印、刘宇佳、白国伟　　片      种故事片　　类      型儿童　　出品单位北京东方明星数字影视中心　　长      度90分钟　　出品年代2010　　　　剧情简介　　在我国广西与越南相望的北部湾，京族三岛如翡翠般镶嵌在蔚兰色的海面上，海边红树郁郁葱葱，岛上竹林青翠欲滴，婉转悠扬的独弦琴声有如天籁之音随风飘荡，每当朝阳升起或晚霞初现时，小岛上就会有成千上万只鹭鸟在空中飞翔欢叫。　　这美丽的地方并不平静，城里一些餐馆为了追求暴利，高价收购鹭鸟，供游客品尝野味，城里患有自闭症的六岁儿童毛毛父母的餐馆亦如此，毛毛耐不住父母整日争吵，出走了，好心的渔民老黎夫妇收留了他，在小岛上，毛毛有了城里不曾有过的经历，美丽的鹭鸟，成了毛毛的朋友。毛毛不仅有了笑容，还发出了声音，是学着白鹭哦哦的叫声。行为怪异的毛毛不被岛上护鸟的孩子们所接受，老黎的妻子阿霞告诉孩子们毛毛是在和鹭鸟说话……

方咪咪与方甲甲姐弟俩在一个偶然的情况下被发现有特异功能。消息不胫而走，一时间，他们成了新闻人物。方家和学校从此忙碌起来，有的人要求甲甲、咪咪找一找祖上埋下的元宝；有的人请他俩去为患者透视看病；有的要他们去帮助破案；而学校的关校长却想利用他们去巴结领导从而得到的提拔。这时，华夏大学人体研究所的工作人员米兰提出要对他俩进行测试，以便带他们到北京参加特异功能研讨会……关校长为了讨好各方，不惜一女两嫁暗中得得，最终因为收受贿赂而受到了应有的惩处。在为外宾表演的专场中，咪咪和甲甲利用思维控制的功能使两位外宾情不自禁跳起了迪斯科，使中外宾客大饱眼福，世界特异功能表演大赛主持人查尔斯向姐弟俩发出了参赛邀请。自然之谜》杂志社总编胡梦龙和钱菲菲趁机以此为资本，办起了特异功能刊院，大雪骗取钱财。以满天飞和黄毛为道的流氓盗窃团伙。为了利用咪咪和甲甲帮助他们找到清代的稀世国宝，将姐弟俩劫持到一个地洞里。咪咪和甲甲不畏强暴、巧于周旋，最终在公安人员的配合下，利用自身的特异功能战胜了邪恶。胡梦龙被抓走；满天飞丧命；大疤脸和黄毛也被逮捕归案。姐弟俩幸福地回到了亲人的怀抱，随着科研人员米兰来到了北京。

Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.

故事讲述了美国黑人民权运动中的一桩真实事件，1955年，年仅14岁的埃米特·路易斯·蒂尔被指 责与一名白人妇女有不正当关系后，被绑架并被残忍地杀害。两名白人嫌疑人在全白人陪审团的审判下，被判无罪。埃米特的母亲玛米·蒂尔-莫布利(丹妮尔饰)为了帮儿子伸张正义，决定在埃米特的葬礼上敞开棺材，并让《Jet》杂志刊登自己儿子葬礼照片，她想让世界各地的人们知道她儿子的遭遇。随后成千上万的人看到了埃米特的照片，这也使得埃米特案成为了对南方黑人司法不公的象征。乌比饰演埃米特的祖母阿尔玛·卡尔坦。

「誰，殺了杜小鳳？」杜小鳳是個女刺青師，剛出獄的更生人。率先自首的的人，叫劉以潔，她是個檢察官，當年就是她親手將杜小鳳定罪的。然而，女檢的新婚丈夫孟燁，卻在清醒之後坦言：自己才是兇手。唯一能替杜小鳳回答的，就只有她在獄中寫的372封書信……這些信，是她不曾寄出過的情書；但在她出獄後，這些信卻點燃了三人之間的嫉妒、慾火、以及不敢面對的感情……最後，這份來自地獄的愛，終於引來不可挽回的殺機。

由金承洙、李天熙 、金正华、徐胤雅 、刘珉奎、崔培永出演的电影《Ensemble》将于2020年秋天上映。　　电影讲述生活在这个时代的青春生活和爱情的故事，曾被受邀第20届全州国际电影节的NEWTRO全州单元和第24届釜山国际电影节。　　这是凭借《成惠的国家》获得第19届全州国际电影节韩国竞赛部门大奖等国内外评委和观众热烈好评的郑亨硕导演执导的第三部长篇作品。　　金承洙饰演迎来新爱情的话剧导演永路，徐胤雅饰演10年间一直守护在他身边的助理导演世英。 李天熙和金正华饰演在梦想和现实面前经历矛盾的夫妇，崔培永饰演相信命运并留下一天记录的周永，刘珉奎饰演不再相信命运的珉宇。

影片主要讲述了多年前一次特级围剿行动中，黑恶头目逃亡海外后，再度兴风作浪。八年后恩怨再起，老牌特警古元（赵燕国彰 饰）跨国追凶救女，再次与以萨里卡（郑恕峰 饰）为首的犯罪分子展开了一场殊死较量，古元之女古娜（姚雅箐 饰）不幸被卷入犯罪集团的邪恶计划中。孤身海外的老牌特警，异国对战老对手，将会发生怎样的腥风血雨？