简介：肯·罗素（Ken Russell）根据约翰·惠廷（John Whiting）1961年的RSC戏剧改编，原作为阿道司.赫胥黎（Aldous Huxley）于1952年进行的卢丹冤案的研究。 影片主要内容是发生在17世纪法国，个人自由主义色彩浓厚的乌尔班·格兰迪神父（Ur bain Grandier）顶撞到了天主教枢机黎塞留公爵的权威，从而导致公爵和教会开始共谋如何利用修女被“恶魔”附身这一借口来陷害神父，最终导致悲剧发生。 这部电影虽然有很多大胆惊人的地方，但不妨碍其成为英国电影中独特且具有里程碑意义的影片。奥利弗·里德（Oliver Reed）饰演格兰迪神父和凡妮莎·雷德格雷夫（Vanessa Redgrave）饰演的女修道院院长都表现出色，Derek Jarman设计的片场布景更是令人难忘。 编剧阿尔多斯·赫胥黎为导演肯·罗素这部火花四溅的杰作提供了素材。这部影片描述了在17世纪的法国，修女对主教暗生情愫，这种情绪在修道院中蔓延，整个修道院的修女都赤身迎接主教 ，她们被认为被恶魔附身，但除魔方法匪夷所思。导演罗素称这部影片是他所有作品中“唯一的、而且最政治性 的 影片”，这一对“洗脑”作出清晰刻画并对政教之间的勾结作出描绘的影片被英国电影分级委员会和华纳影业禁放，华纳影业至今仍宣称这部影片强烈不适于公开放映。

简介：Johnny喜多川广为人知的男性艺人事务所致力于将年轻男孩们培养成超级巨星，但50多年来，日本一直保守着喜多川的黑暗秘密——事务所男孩们长期以来对喜多川的性侵指控。即使在这位音乐大亨2019年离世后，日本传媒也基本上保持着沉默。为什么？记者Mobeen Azhar探索了作为J-pop偶像那令人窒息的事实，喜多川对媒体的影响，并揭露了对这一切视而不见而导致的残酷后果。

简介：连姆（乔什·怀特豪斯 Josh Whitehouse 饰）和娜塔莉（弗雷娅·梅弗 Freya Mavor 饰）是性格大相径庭的一对男女，这两个本来八竿子打不到一起的人，却在机缘巧合之下相遇，并且迅速的坠入了情网之中，他们都认定了彼此是自己这辈子要携手度过的那个人，在激情燃烧的恋爱之后，他们很快就携手步入了婚姻的殿堂。　　一晃眼十年过去，再摧残的爱情都禁不住这漫长时光的消磨，当连姆和娜塔莉之间的感情消磨殆尽之后，或许体面的结束是他们最好的选择了。在决定分开之际，他们开始分割财产，其中包括两人珍贵的音乐收藏，而在此过程中，熟悉的一首首歌勾起了他们对于曾经的回忆。

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Britain is the third biggest buyer of cut flowers in the world, most of which are sourced from overseas. But change is in the air as this documentary follows a new generation of British florists revolutionising the industry.

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一个好友请求彻底改变了 Kirat 的生活，当她与鲍比在网上的关系慢慢转变成恋情时，她永远也想不到鲍比并非表面上看起来那么简单。

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年轻男孩艾瑞克因罪行入狱，他暴力的行径进一步导致他被转移到成人监狱，在那里他遇到了老辣的对手尼夫，令人意想不到的是，尼夫是他失散多年的父亲，两人是否可以在一个危机四伏的监狱里重建亲子关系？

简介：尼尔·阿姆斯特朗登陆月球仅九个月后，美国宇航局便迎来了最大的危机：三名宇航员乘坐的宇宙飞船在前往月球的途中遭遇了灾难性的爆炸。

简介：一个威尔士的青少年想要变成城镇里的帅小伙，条件是他必须与他的新美国邻居做个交易。

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简介：为了找寻失踪的叔叔，年轻人自己设计了地心探险船,却被人剽窃,结果只能接受事实,因为商人答应让他带队去寻找失落的文明。 然而商人手里有一块神秘碎片，如果他找到其余碎片就可以拥有强大的力量。另一部分传说在地心，在那里也有一个世界，于是他赞助一些科学家去地心做科学研究，其实是为了实现他的野心，科学家们乘坐年轻人发明的有大钻头的飞船到了地心，在那里他们发现有原始人，通过他们的壁画知道他们的祖先是从地上顺着火山口进到地心的,他们还结交了白色的人形怪物并成为朋友。然而在这里还有一个身上插了很多导管，管子里流淌着绿色液体的邪恶统治者，整个地心世界由他控制....

简介：简•奥斯汀（安妮·海瑟薇 Anne Hathaway 饰）的一生是否如她的文字那样充满曲折的过程和完满的结局？《成为简》用传记方式描述她的一生：她的母亲竭力为她撮合婚事，对象是上层社会的有钱人。但是简不接受没有爱情的婚姻，认为女人要靠自己的能力去养活自身。于是，她拒绝贵族瓦斯莱先生的求婚，爱上了心灵相通的汤姆•勒弗罗伊（詹姆斯·麦卡沃伊 James McAvoy 饰）。　　好事多磨，有人从中作梗，导致汤姆家人并不赞成二人婚事，汤姆决定携简私奔。但是这样一来，汤姆的经济来源就会被切断，简亦将面临着世俗的压力和贫困的生活。到底二人在私奔路上会走得多远？会不会有美满的结局？

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故事开始于上世纪七八十年代的贝尔法斯特，泰瑞（理查德·多默 Richard Dormer 饰）是一个具有叛逆精神和激进观念的音乐爱好者。他在北爱尔兰的贝尔法斯特面临着冲突不断、生活困苦的情况下，作出了与他的朋友们选定立场的不同决定。他决定在风声鹤唳的街区开设一家唱片行，并将其命名为美妙的振荡。在他的唱片行经营初期，泰瑞先后签下了两支前途光明的乐队。当著名主持人约翰在BBC第一电台上连续播放低调乐队的热门歌曲《Teenage Kicks》时，这个时刻成为了泰瑞音乐梦想成为现实的转折点。然而，尽管泰瑞在音乐产业中取得了成功，他却并不是一个完美的英雄，面对私人生活，他有着极其自私的一面。

简介：12岁的小女孩乔治亚失去了母亲独自过日子，从未出现的父亲突然闯入她的生活。1994年出生的导演夏洛特·里根自编自导的长片处女作，她镜头下年幼丧母的小女孩不再是可怜兮兮的社会批判题材主角形象，而是个古灵精怪充满幻想的小“社牛”，一向以炫酷帅哥形象出现的哈里斯·迪金森（《悲情三角》）饰演父亲，两人将一出父女重逢后相互慰藉、走出悲恸的戏码演绎得轻松无厘头又不失温情。荣获2023年圣丹斯电影节世界电影剧情片单元评审团大奖、入围2023年北京国际电影节主竞赛单元。

简介：Gabrielle is writing an illustrated guide book on sex called 'How To Do It.' At a book signing she meets Saul, an established male writer who is straight. She both loves and hates his work which has seeped into her secular Jewish life from childhood. The more Gabrielle tells him about her book the more he wants to know about her life; the relationship with her younger girlfriend Olivia and her determination to stop using my penis in sex. As her book takes form, is Saul jealous or desirous Their friendship is tested as is Gabrielle's relationship with Olivia. The film muses on how we write, how we draw. And the nature of story and what it makes us do.

简介：世界局势波诡云谲，再度出山的邦德（丹尼尔·克雷格 饰）面临有史以来空前的危机，传奇特工007的故事在本片中达到高潮。新老角色集结亮相，蕾雅·赛杜回归，二度饰演邦女郎玛德琳。系列最恐怖反派萨芬（拉米·马雷克 饰）重磅登场，毫不留情地展示了自己狠辣的一面，不仅揭开了玛德琳身上隐藏的秘密，还酝酿着危及数百万人性命的阴谋，幽灵党的身影也似乎再次浮出水面。半路杀出的新00号特工（拉什纳·林奇 饰）与神秘女子（安娜·德·阿玛斯 饰）看似与邦德同阵作战，但其真实目的依然成谜。关乎邦德生死的新仇旧怨接踵而至，暗潮汹涌之下他能否拯救世界？

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一对婚姻岌岌可危的英国夫妇乘船前往加勒比海，希望挽救他们的婚姻。在丈夫和一个神秘的流浪者之间看似无害的酒吧争斗之后，情况演变成了一场危险的猫捉老鼠的游戏。这对夫妇必须一起战斗，以从袭击者手中解救自己。

简介：Another of Mike Leigh's efforts in the Play for Today series. Home Sweet Home is the he tragic-comic tale of a lonely postman, the social workers who chivvy him about his estranged teenage daughter, and his secret affairs with the wives of his fellow postmen. "Though the social and economic situations of Leigh's characters are invariably specified, they are not determinative. In his view, institutions don't cause our problems and institutions cannot solve them. Nothing beyond the structure of our own thoughts and emotions can be blamed for our predicament and nothing outside of ourselves can remedy it. The poorest of Leigh's characters could win the lottery, or the richest be forced out onto the streets, without their basic dramatic problems changing. One only has to compare Ken Loach's Ladybird, Ladybird with Leigh's Home Sweet Home or his short, Probation, for the difference between the two viewpoints to be clear. Whereas Loach mounts an institutional critique, the social systems and bureaucracies in Leigh's work are only individuals writ large. Home Sweet Home dramatizes the relationship of two social workers, Dave and Melody, to a client, Stan, and his daughter Tina, but for Leigh the social workers are ultimately just messed-up people. One might say that while Loach looks at the effect, Leigh studies the cause. Loach studies bureaucracies; Leigh examines the individual qualities that make bureaucracies the way they are. The main characters in Ladybird, Ladybird are victims of a social agency's depersonalizing understandings. Leigh refuses to make Stan and Tina victims of anybody or anything. Home Sweet Home makes clear that, even if all of the social workers were to disappear from the universe, Stan and Tina's relationship would not improve one whit (and in fact would very likely get worse, since in the absence of a pushy, intrusive, boorish Melody, Tina would get no visits or trips home at all). There is an ultimate fairness in Leigh's view of life. We get what we are. Nothing is inflicted on us (just as nothing outside of ourselves can save us). We create our own problems and we ourselves must solve them. It would be hard to imagine a view of experience more at odds with the blame-games played by most cultural studies critics. Leigh's characters can never blame anything or anyone–least of all "the system." External forces (figured by ever fashionable ideological concepts like "power," "gender," and "class") have no ultimate authority over what we are. We are responsible for our own fates. The enemy, if there is an enemy, is inside. Odd as it may sound to say it, the writers on cultural studies and neo-Marxist filmmakers like Loach are actually more optimistic than Leigh, for while the social-work bureaucracy (Loach's target) may conceivably be reformed, the human heart and mind (Leigh's subjects) are all too deplorably (and exultantly) what they are for all eternity. I would argue that the institutional critique is in fact the simpler, more superficial, and more naive way of understanding these situations. The labyrinths of the human heart are far more tortuous and Byzantine than the corridors of power that constitute the welfare system. The bureaucracies of the imagination are far subtler and more insidious than those of any man-made institution. And if you say you don't see that or don't understand how that could possibly be, why that is precisely what a work like Home Sweet Home exists to show...." –Excerpted from Ray Carney, "The Films of Mike Leigh: Embracing the World "

简介：图尔克（安东尼奥·班德拉斯 饰）是位人气爆棚的摇滚乐手。已经上了年纪的他此番来到泰国和妻子度假，可盘踞于此的恐怖分子却盯上了他的老婆。万般无奈之下图尔克只好放下吉他，拿起枪杆子和恐怖分子对抗拯救爱妻。

简介：In 1830, forty years to the day since the last manifestation of their dreaded vampirism, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla - or as she was in 1710, Carmilla

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Hormones shape each and every one of us, affecting almost every aspect of our lives - our height, our weight, our appetites, how we grow and reproduce, and even how we behave and feel. 　　This documentary tells the wonderful and often weird story of how hormones were discovered. 　　Presenter John Wass, one the country's leading experts on hormones, relates some amazing stories - how ...

简介：ddd两个骨灰级的球迷维格西和克里夫，因足球队降级心生不满，激动之下俩人一起绑架了他们认为导致这一不公平决定的裁判……

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杰克·怀特霍尔（Jack Whitehall）登台登场，讲述了关于幸福夫妻，酒店生活，人类愚蠢和流浪汉的父亲的搞笑故事。

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丽萨（丽赛特·安东尼 Lysette Anthony 饰）是一位美丽的公主，在预言中，谁能够迎娶丽萨，谁就可以成为世界之王，而两个人的后代，将能够获得统治世界的强大力量。丽萨爱上了邻国的王子克罗恩（肯·马歇尔 Ken Marshall 饰），然而，就在两人准备携手步入婚姻的殿堂的节骨眼上，邪恶的怪兽出现了，他打伤了克罗恩，掠走了丽萨。 　　怪兽想要和丽萨诞下子嗣，但遭到了丽萨强烈的拒绝，因为她心中唯一认定的丈夫只有克罗恩。那边厢，身受重伤的克罗恩幸运的得到了一位名叫亚尔（弗雷迪·琼斯 Freddie Jones 饰）的老人的救助，在亚尔的指点下，克罗恩得到了一把非常厉害的飞刀，带着强大的武器，克罗恩决定启程寻找怪兽的踪迹，解救心爱的公主。