武状元铁桥三

简介：一个人的成功道路有千条万条，靠天靠地靠父母，不如脚踏实地的靠自己。金腊梅家庭并不富裕，从小便懂事、孝敬，很早，便出来闯荡天涯。生活中，她只认准一个道理，只要努力，做什么都会取得成功。尽管因为性格要强，她在职场的道路上一波三折，后来在独立创业上，也是风生云起。金腊梅经历，是不仅仅能用“努力”两个字就能囊括的，其更多依靠的是做人的正派与担当。本部影片的主人公金腊梅，是千千万万离开家乡、外出工作代表，很多人都能从她身上找到自己的影子。不同的信念、不同的品质造就不同的人生。金腊梅的成功，有可鉴之处，值得每一位青年人以及父母推荐给自己子女观看。

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A sailing holiday spirals out of control when a teenage daughter uncovers the dark past of her mother's new boyfriend.

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剧情简介： 　　西宫杜姬不独恃宠生骄，还私通尚书胡维。一夕，景仁太子发现二人幽会，于宫门挂带示警，反被姬诬陷非礼。姬子景仪明真相，姬遭受笞刑，竟与维陷害仁母东宫昭仪，逼宫女妙香假冒昭幽会情人，令她含冤被判斩首；香听得二人欲杀她灭口，亦留书逃遁。仁泣祭母后，遇其亡魂，奉命带着灵牌、血书上殿，昭的冤魂亦大闹金銮，逼姬认罪。此时昭卸下厉鬼装扮，说出原来香代她服刑，将功赎罪。真相大白，仁亦获传皇位。 　　导演：珠玑 　　编剧：李少芸 　　演员：任剑辉 余丽珍 林家声 梁醒波 李香琴 麦先声 张生 　　制作人：李少芸 　　摄影：崔鑫玉 　　剪辑：汤广仁 　　布景师：梁志兴 　　副导演/助理导演：朱超 　　类型:戏曲 　　地区:中国香港 　　上映日期:1961年04月06日 　　制作/发行公司：.丽士影业公司

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梅波（袁咏仪 饰）和沈露露（蔡少芬 饰）不仅仅是生活中的好姐妹，也有着成为明星的共同梦想，两人混迹在六十年代的电影圈。一次偶然的演出机会让梅波结识了当时红极一时的编剧秦淮（刘青云 饰），并对这个才华横溢的编剧产生了微妙的情感。秦淮将推出新戏，梅波和沈露露都有机会出演，情 同姐妹的二人成了竞争对手，沈露露却凭借浮夸的演技意外受到老板亲睐，并由此一炮走红，梅波却因此失去信心回乡。秦淮有感而发，以他和梅波的故事为原型创作了一部剧本，后由露露出演。 　　归乡的梅波依然无法放弃表演，再次回归，看到了这部处处透着她和秦淮之间故事的电影，无奈此时的秦淮却成了好姐妹露露的男友。 　　梅波的表演之路是否能迎来转机？三个人的爱情故事又将如何收场？

简介：鄉下青年胡立歐來到馬尼拉，一面在建築工地忍受低薪，一面尋找青梅竹馬。然而，這座殘酷城市似乎布下天羅地網，為了生存、為了心愛的女子，胡利歐必須賭上一切，付出代價。菲律賓殿堂級導演深刻剖析社會的經典之作，片中大膽描繪男妓同志，通俗劇情融合義大利新寫實與美國黑色電影手法，被譽為菲律賓電影史上最重量級作品。

简介：1889年，希特勒出生于奥地利布劳瑙镇一个公务员家庭。青年时期处于第一次世界大战的阿道夫·希特勒，在动荡不安的乱世中，他的出现与崛起是希望的开端、还是灾难的开始？这个看似平凡的小男孩，长大后却指挥了德国军队大规模入侵各国，掀起了惨烈的第二次世界大战。

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A rookie drag queen, reeling from a break-up, escapes to the country, where he finds his grandmother in steep decline yet desperate to avoid the local nursing home.

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入围2020年釜山电影节新浪潮竞赛。

简介：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.

简介：在2020年全世界都遭受新冠病毒侵袭的状况下，樋口真嗣等五位导演策划出一个“胶囊怪兽计划”，让大家在家中拍摄新冠病毒这个大怪兽和自家的小怪兽战斗的故事，并进行接力传播。作为该计划的番外篇——由岩井俊二导演、斋藤工主演，几乎全片都是远程拍摄制作的《8天就死去的怪兽的12日谈》剧场版，将登陆日本小型院线。讲述主人公SATO TAKUMI网购了一个胶囊怪兽，然后他每天都会将小怪兽成长的样子放到网上播出…。

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一个五口之家共同生活在一座乡村老房子里。父母慢慢变老，孩子们则逐渐长大，很快就会各奔前程。而母亲意外怀孕的消息打破了他们原本一成不变的日常生活，家里即将添一个新成员的想法也逐渐影响着家中的每一个成员。影片中故事的灵感来自于导演的真实经历，在他15岁时，他的母亲意外怀孕了，他将当时的感受和家庭成员种种微妙的变化放在影片中展现，以细腻与含蓄的拍摄手法完成这部电影，演员们的表演为影片增色不少。

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来自湖南的新移民子圆及妹妹子缺两姊妹在香港成长，除了面对身份认同、贫穷，还有一个更大的命题：一个长年吸毒的父亲（吴慷仁 饰）。 从小父亲若即若离，喜怒无常，又时常因坐牢突然消失，使两姊妹长期处于不安。小时候她们还会讨好父亲，中学她们掌握了话语权开始反抗、挣扎、逃离。长大后本以为可以彻底挣脱父亲，却发现自己喜欢的所有人事，原来都带着父亲的影子，都与童年的某个回忆有关…… 　　影片改编导演祝紫嫣的短篇小说。白描二十载的父女离散，记忆一对姊妹的成长悲欢。