上书房

Whatisaknightwithouthishorse?Anactorwithoutanaudience?Amotherwithoutherchild?Lucieisallofthesethings:aworkingmumandwanderingknight,inafilmthatkeepschangingitssettingandtone.Afterarelaxingstayathergrandmother’shouse,withwhomsheleavesherdaughter,shesuddenlydiscoversherselfinfullmedievalarmouramongstrollinghills.Theactionthenshiftstoanemptytheatre,whereLucie–inthesamesuitofarmour–awakesamidstthechaoticpreparationsforaperformanceofKingLear.Lucie,playedbyFrench-BelgianactressLucieDebay(Melody,KingoftheBelgians),repeatedlywhisperstoherself:“Don’tlosetrackofthings.”Thisdebutfeaturefilm–byfilmandtheatremakerClaudeSchmitz–reflectsonlife,performance,dreams,anddeeds.TheCovid-19pandemic’seffectsontheperformingartsareimplicit,yetunmistakableintheexistentialundertoneofLucie’squest.

作为南加州最好的离婚官司律师，迈尔斯•马西（乔治•克鲁尼 饰）的精明之道令客户非常满意。而玛丽莲（凯瑟琳•泽塔-琼斯 饰）这个拜金女郎想利用自己的美色嫁入豪门后以离婚的名义取得高额的财产。而玛丽莲的丈夫请来了迈尔斯，以确保自己能在离婚官司中稳操胜券。 玛丽莲的美丽吸引住了迈尔斯，但他还是帮自己的客户保全了家产。深深不忿的玛丽莲想要报复迈尔斯，便想假装与他结婚。 他们一边算计对方，一边被对方吸引，到底爱情的力量又能否胜出呢？

高一生涯结束，野猫队的所有成员都准备好迎接美妙的暑假。暗恋特洛伊（扎克·埃夫隆 Zac Efron饰）已久的夏培（阿什丽·提斯代尔 Ashley Tisdale 饰）利用她父亲的影响力帮特洛伊在自家经营的豪华俱乐部中弄到一份工作，和藉机让他获得大学篮球奖学金的机会。而条件是特洛伊必须放弃野猫队,并和夏培搭档参加俱乐部一年一度的才艺比赛。同时，这也是夏培让特洛伊远离女朋友盖比瑞拉（瓦妮莎·哈金斯 Vanessa Hudgens饰）的计谋。可特洛伊让盖比瑞拉被同时被俱乐部录用，让夏培十分气愤。夏培的弟弟莱恩和没了特洛伊的野猫队合作，排练曲目参加比赛。不料被夏培知道，强行取消了他们的资格。盖比瑞拉伤心地从俱乐部辞了职，并开始与特洛伊产生裂痕，野猫队的成员也开始把特洛伊排除在外。 　　这一次特洛伊到底该选择哪一边的阵营？这个夏天到底会有怎样不一样的抉择？

　　Neil Young演唱会纪录片

埃塞俄比亚电影《羊羔》是一部处女作，讲述一个男孩和他的宠物羊被去城市里找工作的父亲寄养在亲戚家，勾勒出埃塞俄比亚乡村人民的生活状态。

《出包王女Darkness（To LOVEる -とらぶる-ダークネス）》是由日本插画家长谷见沙贵负责脚本、漫画家矢吹健太朗作画的漫画作品，是在其前作《出包王女（To LOVEる -とらぶる-）》的连载被漫画杂志《周刊少年Jump》（集英社）腰斩后，移籍到漫画杂志《Jump Square》（集英社）重新开始连载的作品。《出包王女Darkness》在漫画杂志《Jump Square》（集英社）2010年11月号开始连载。另外，《出包王女Darkness 番外篇》也开始在2010年季刊增刊《Jump SQ.19》（隔月刊）冬号上开始连载。

大宋年间，辽朝公主傲雪（范冰冰饰）率使团进京求和，不料遭人暗算，众人悉数死于非命，只有傲雪悄然失踪。包拯（王学兵饰）无意邂逅傲雪，此时傲雪已经失忆，包拯深感蹊跷，为破“辽使案”包拯把她带在身边，怎料惹来连环追杀。业牧人（尤勇饰）用幻术控制信徒，各方豪杰称雄江湖，一瞬间满眼血雨腥风，杀机四伏。包母（戴春荣饰）竭尽医道为傲雪恢复记忆，傲雪受不了治疗之苦逃出应天府，包拯巡踪追赶，他惊异地发现，傲雪竟成了当下流行的藤球头号球星。包拯巧设玄机，终于探得“辽使案”幕后黑手乃神秘江湖组织“天地盟“。于是展开了飞沙走石的黑白对决，盟主鬼王倒在了傲雪剑下……

　　讲述安雅和五个朋友一起在旅途研究远古岩画，去深山探险，他们到了一个森林后发现有一些原始的野蛮动物，并且他们相继被被感染怪异病毒，变异成怪物去袭击同伴，在逃亡中，令人感到悬念重重，疑问种种！谁也不知道这到底是什么原因？谁也不知道哪里会发生恐怖和袭击，更没有人知道哪里才是安全的，幸存者在一个个的减少，他们可以逃出生天，绝处逢生吗？

宋朝武将狄青奉命远征西辽，不料先锋焦廷贵却错攻单单eee。单单国双阳公主自请领兵讨伐，在两军交锋之际，对狄青一见钟情，将其掳回，无奈狄青忠心耿耿，不肯接受双阳公主的心意。公主故意设宴灌醉狄青，生米煮成熟饭，狄青歉疚之余也百口莫辩，只好答应和公主成亲。当上驸马爷，狄青依然心系故乡，终日郁郁寡欢，宋君又因不满狄青留连异邦，因而拘押狄母。狄青想连夜赶回中原救母，却遭公主识破，所幸公主深明大义，让狄青回京面圣，并答应在百日之内攻破西辽。狄青带兵征讨西辽，西辽驸马设下五龙阵，将狄青困在其中。双阳公主闻讯前往搭救，并以法术攻破五龙阵，狄青一鼓作气，势如破竹，取回西辽的国宝珍珠旗。

Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

继影圈发生银鸡案后不久，娱乐圈再传出影星买淫事件，事件主角Rebekah因而名噪一时，轰动全港，虽然她巧妙地避开传媒的追捕，但报刊对她的不公平报道和假道学的舆论、亲朋的白眼，使她领会到人间无情。她在怒气难消的心境下，实行爆料手段，现身诉说圈中丑闻，男盗女娼，尔虞我诈。本片以疯狂搞笑手法、揭尽女明星、男艺员如何出钟交易，知名人士、公子哥儿不见得光的恶行，在花花世界内，带着人皮假面具，亦难遮挡着他们的贪婪和丑恶本性。

　　The volatile intersections of contemporary Moscow and the intimate lives of five people.

江湖杀手阿平是和平饭店的老板，传闻他武功了得，曾经一口气杀了二百多个马贼，并且他宣称和平饭店是一个“避难所”，只要进来住宿的人，无论他得罪了什么帮派，都不许前来挑衅生事，但不保证离开后的安全歌女阿曼的到来打破了这个江湖规矩。阿曼被人追杀，逃至和平饭店。她风情万千，令阿平心生爱意并设法保护她离开饭店，躲避追杀。然而，阿平的用情换来了一个早已布下的陷阱：原来阿曼正是这个陷阱的诱饵！愤怒的阿平决定拿起武器重出江湖，一场腥风血雨的厮杀大肆铺开。

https://bkimg.cdn.bcebos.com/pic/caef76094b36acaf7cd983a378d98d1001e99cb7?x-bce-process=image/resize,m_lfit,w_536,limit_1/format,f_jpg然后，在皮尔与这位不可战胜的枪手遭遇之前，自己却被一群歹徒绑架。皮尔没有反抗，而是加入了他们的队伍，开始疯狂的劫掠。他和麦格克的终极遭遇终于开始了，皮尔发誓不惜一切代价匡扶正义。

Siblings, Eric & his surreal artist sister Kay, her doctor husband David, her sister-in-law Brooke along with pilot Marsh become stranded on a rugged isle face off against a supernatural beast drawn to Kay who dreams of its killings