暴力街区

　　为了筹措争取女儿明蒂监护权官司的资金，理查在怀抱星梦的女演员莎夏的介绍下，加入一场长达24小时的舞台剧演出，希望借此获得高额的奖金，但理查却万万没想到，他即将参与一场真枪实弹的血腥屠杀秀……。

　　Unforeseen circumstances threaten the passionate relationship between star-crossed lovers.

　　五个人突然醒来，他们发现自己在一艘外星人的母船上。他们发现自己的情感波动会影响到这艘船的动力。他们意识到原来外星人已经绑架人类的历史已经数百年之久了。他们决定秘密脱困，并和外界的美军士兵取得联系逃出生天。

　　人头攒动的东京秋叶原，是动漫、游戏迷心中的圣地。他们从四面八方云集于此，寻找心中的至爱。小眼镜男山田刚司（伊藤淳史 饰）是一个终日游荡在秋叶原的销售员，他性格内向，毫无主见，事业和爱情没有着落。当然，他的心中也有着心仪的对象，那就是经常会在电车上遇到的美人青山沙织（伊东美咲 饰）。某晚，一个醉汉（泉谷しげる 饰）大闹电车，甚至骚扰到青山小姐。山田鼓起勇气解围，青山分外感谢，日后更送他爱马仕的茶具作为感谢。
　　没有恋爱经验的山田面对爱人不知所措，他以电车男的网名登陆留言板，向陌生的好友们寻求帮助。大家纷纷出谋划策，共同帮助山田踏上追寻爱情的道路……

　　二战后，英国律师William Collyer（西蒙·拉塞尔·比尔 Simon Russell Beale 饰）的妻子Hester Collyer（蕾切尔·薇兹 Rachel Weisz 饰）邂逅了退役的飞行员Freddie Page（汤姆·希德勒斯顿 Tom Hiddleston 饰）。生活空虚寂寞的Hester和年轻英俊的Freddie陷入了一段不伦之恋。此事不久即被Hester的丈夫William发现。后来，Hester认为Freddie不再爱她了，于是尝试自杀。她没有成功，Freddie在读完她的遗书后勃然大怒。最后，Freddie终于决定离开她，去一个遥远的地方继续他的飞行员生涯。Hester只能望着Freddie离开的背影黯然神伤......

　　A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko&♯39;s films, and her own voice is heard talking about her life and art.
　　Elem Klimov&♯39;s grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko&♯39;s collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko&♯39;s premature death while filming her adaptation of Valentin Rasputin&♯39;s novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko&♯39;s work (Maya Bulgakova&♯39;s pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa&♯39;s most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko&♯39;s You and I, Klimov dissolves between a series of personal photographs that encompass Larisa&♯39;s entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov&♯39;s Come and See, though by placing the scene first within Larisa&♯39;s chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery&♯39;s knife has cut.

　　1957年在一所高中的毕业舞会上，强纳生神父被恶魔侵入，凶残务必，无辜的学生成为待宰羔羊，桀络神父将他关于密室三十三年，而三十三年后那邪恶的力量正渐渐醒来

　　In the age of social media, teenagers tell the story that they want people to see, with each video more daring than the next. But in this small town, a series of staged "murder" videos are turning very real.

　　本片以上世纪六十年代的本地家庭为主轴，通过成员的际遇，带出早期的甘榜生活以及后来的组屋生活，剧情横跨数十年。
　　电影也将体现新加坡如何从一个以方言为主流语言的社会演变成华语到现今英语的过程，从中回顾流失的方言。它也会融入导演的许多亲身经历，并将安插多首怀旧歌曲。

　　丹麦第一神（经）编剧安诺斯托马斯延森和美剧《汉尼拔》扮演者麦斯米科尔森早期电影，两人05年合拍神片《亚当的苹果》 还合作过好多黑色喜剧，本片讲四个黑帮分子偷老大的巨款开餐馆且各自回忆童年，充满荒诞和丹麦式冷幽默，结局（看起来）相当治愈，世纪之交的北欧出了好多黑色喜剧，当时丹麦第一神（经）编剧的功力已现端倪，那时麥叔还没成为汉尼拔，居然演了个背心暴力男......