探讨千年之交日本恐怖电影的起源，这些电影以复仇鬼魂通过现代科技显现为主题，背景则是都市的疏离与社会的衰败。
一只可爱的拉布拉多犬被选去接受导盲犬的培训。为了让它与人类建立感情，它被寄养在一对夫妇的家里，因为身上有一个棕色的胎记，像一只飞翔的海鸥，便给它取名小Q。训练十分艰苦，但小Q还是成为了导盲犬，认识了第一位主人渡边先生，可是渡边先生却怀疑。情况刚有了好转，渡边先生却病倒了，小Q只好回到了训练中心。 小Q已经在训练中心度过了7年，这时它又能回到了“养父母”的家了，可是它却患病了……
本纪录片由一群受害者和吹哨人共同揭露了美国“童子军训练营”中长达数十年的性虐待黑幕及其造成的严重社会后果。
RUSSELL MADNESS tells the story of Russell, an undersized but big-hearted terrier who dreams of having a family of his own. After running away from his pet store, Russell gets taken in by The Ferraros, a family desperate to revive their grandfather&♯39;s pro wrestling arena. That&♯39;s when they discover their new pet pooch has incredible wrestling skills. With help from his coach, Hunk, a savvy and hilarious monkey, Russell rockets to the top of the pro wrestling world and becomes a famous sports superstar. But when a dishonest promoter double-crosses the Ferraros, Russell will face his biggest challenge and discover that the strongest tag team is family.
A lone, medieval knight follows a mysterious woman to a forbidden realm to help her steal the power of the gods.
本片故事改编自连载漫画，讲述的是一位曾在风俗店工作的女子千寻(有村架纯 饰)，如今在海边的便当店工作。围聚在她身边的有各式不一样的人，但她总能宽慰他们，从而影响他们人生的故事。
科内尔（肯特·麦克柯 Kent McCord 饰）的父亲是效力于军方的科学家，研制出了一种能够将死人复活的药剂，可是，复活后的人却会成为嗜血的怪物。科内尔的女友朱莉（美琳达·克拉克 Melinda Clarke 饰）在一场车祸中不幸身亡，伤心欲绝的肯特决定用这种药剂来复活他的女友，果不其然，复活后的朱莉虽然拥有清醒的甚至，却无法克制自己嗜血的欲望。 为了帮助朱莉，科内尔决定将朱莉送到军方手上，但很快他就发现，军队实际上在利用丧失做非常残忍的人体实验。想要救出朱莉的科内尔遭到了军方的追捕，在激烈的追逃之中，科内尔打破了装有复活气体的容器，导致大量的僵尸复活了。
本片通过1896－2020年的80多部电影的影像片段，研究了电影镜头设计的政治性，以及这些元电影是如何与性虐待/侵犯和对女性的就业歧视这两种现象的猖獗有所挂钩的。
故事发生在墨西哥城的一个中产阶级社区“罗马”，讲述年轻女佣克里奥（雅利扎·阿巴里西奥饰）在雇主索菲亚（玛丽娜·德·塔维拉饰）家中工作，该家中索菲亚的丈夫长期在外，由女佣克里奥照顾索菲的四个孩子。突如其来的两个意外，同时砸中了女佣克里奥和雇主索菲亚，两人究竟该如何面对苦涩茫然的生活？四位孩子似乎是希望所在。 这是以导演阿方索·卡隆的儿时记忆铸成的影片，而卡隆其实就是片中某一位小孩。
讲述了失去双亲的女孩遭强暴后复仇的故事...
广濑由美（后藤久美子 饰）被确诊患上了白血病，只剩下半年的生命了。母亲友子（三田佳子 饰）为了能够让由美在幸福中走完一生，于是拜托由美非常仰慕的大学男子上条明（仲村亨 饰），希望他能够以恋人的身份陪伴在由美的身边。 夏天来临之际，病情一直很平稳的由美，晕倒在了学校里，此时的上条恰恰好不在她的身旁。之后，由美休了学，决定前往轻井泽疗养。本来只是为了完成任务的上条，在和由美的相处之中渐渐的真心爱上了这个单纯烂漫的可怜女孩，但这段感情注定是绝望的，要以死亡来做句读。
Benjamin Bernard has lived his life in the shadow of his brother. Torn between jealousy and loyalty, Benjamin takes out his aggression as a mixed martial arts (MMA) fighter. After an event nearly shatters the life of his brother, Benjamin must face his overwhelming feelings of anger and resentment as he discovers the truth about his family. As one brother fights for his life, the other must fight for reconciliation and redemption inside and outside the cage. This family film explores love, forgiveness, loss, healed relationship and, ultimately, the realization that we are all God&♯39;s Favorite.
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.
