追梦的山里娃

简介：热血老奶奶罗玉粉（罗文姬饰）性格耿直，爱打抱不平，多年来专注于举报社区里发生的不法行为的，被周围的人叫做“鬼怪奶奶”。她的“对手”是信访办新来的基层公务员朴民载（李帝勋饰）。二人吵吵闹闹未分胜负。某天，罗奶奶忽然“死皮赖脸”要求朴民载成为自己的英语老师。因为她有一个弟弟生长在美国，一句韩语也不懂，罗奶奶只有学会了英语，才能跟他交流。在学习过程中，朴民载与罗奶奶的感情变得越来越融洽。但是，民载得知罗奶奶的弟弟其实根本不想和她通话。在一次冲突中，他不小心对奶奶说出了实情。然而，这时候，罗奶奶有了更迫切的学习英语的理由，她要到美国，向全世界讲述自己做慰安妇的经历，迫使日本政府为践踏人伦的行为道歉。

简介：讲述了没有梦想、没有爱情、靠在小菜店打工过活希望成为一名作家的「剩女」圭贞(崔允英饰)和天才科学男南杰(朴正植饰)之间的爱情故事。

简介：《黑蝴蝶》故事发生在阳光灿烂的80年代，80年代中期从监狱出来的女人齐琳（刘敏涛 饰）提前刑满释放回到家里发现已经物是人非、鹊巢鸠占。捍卫感情还是成人之美？在一系列艰难的选择之后，齐琳重新陷入了艰辛 忙乱的生活。同时跟迷惘懵懂青年周鲲鹏（李家成 饰）之间发生了奇妙的化学反应，他们从没有交集到互相影响，在一起找到人生意义的过程中，产生了一种“爱”。但却因为年龄的差异让这份“爱”变得有些难以启齿，就在深陷其中不知所措的时候，一段狱中的孽因横空飞来，将深爱的两人拆到相隔阴阳飙泪对话。

简介：一天，骑兵队的吉姆（理查德·威德马克 Richard Widmark 饰）找到了自己的老友，小镇警长麦凯（詹姆斯·斯图尔特 James Stewart 饰），求他帮自己一个忙，去解救曾经被印第安人绑架的人们，最终，两人成功的救下了男孩快狼（David Kent 饰）和一个名为爱莲娜（雪莉·琼斯 Shirley Jones 饰）的女子，哪知道这一举动竟然招致了石牛（伍迪·斯特罗德 Woody Strode 饰）的不满和追杀，最终，石牛被麦凯击毙了。　　回到据点，快狼和爱莲娜并不受当地人的欢迎，处处遭到排斥，只有善良的麦坎雷太太（珍妮特·诺兰 Jeanette Nolan 饰）愿意收留快狼。随着时间的推移，麦凯渐渐的爱上了坚强的爱莲娜。

简介：宁静的原始森林，熊妈妈正带着自己的孩子约克寻找蜂蜜。正当母子享受这顿美餐时，灾难不期而至。熊妈妈被一块巨石砸死，约克伤心备至，不得已踏上了独自生存的艰险之路。它路遇被猎人伤害的成年灰熊，灰熊一心报复伤害它的人类，对待约克分外冷淡。但随着一段时间的相处，它和约克慢慢成为了好朋友。它们一路遭到猎人的追踪，也遇到了各种各样的险情，在这个危机重重的原始丛林中寻找属于自己的一片天地……　　本片根据1885年发生在美国洛基山脉中人与熊之间的真实故事改编，并荣获1989年法国凯撒奖最佳导演奖、1990年Genesis奖最佳外语片奖、1990年年德国艺术院电影公会公会电影奖银奖最佳外语片、1988年法国电影学院奖。

简介：一个九岁男孩痴迷于将头发拉直,从而引起了他辛苦打工的恐同症母亲对他的取向的怀疑。

简介：夏日江城，出租车司机吴涛（曾志伟 饰）驾车意外坠江身亡，留给妻子凡丽（蒋雯丽 饰）的除了腹中的遗腹子以及高中毕业的儿子小川（檀健次 饰）还有个受伤女乘客苏丹（莫文蔚 饰）。凡丽无法负担高额的住院费，只能接苏丹回家亲自照顾。男人的去世，让这个家弥漫着一种哀伤之气，而风尘女子苏丹的入住让这个家焕发出一丝生机。小川从迷茫少年开始变得成熟，而凡丽也渐渐摆脱了丧夫之痛。苏丹腿伤慢慢好转，凡丽为了避免苏丹和儿子的进一步接触想办法把苏丹打发走。一直对父亲的死因有怀疑的小川在两年后找到了苏丹，本来只是给她送赔偿金时却意外发现了一个秘密。　　本片由导演张一白编剧并执导，是张一白“爱情三部曲”（其他两部《开往春天的地铁》、《夜上海》）中的最后一部。

简介：影片剧本取材于海城市曲艺家协 会主席、海城市旅游形象大使赵广群 先生的个人事迹，真实再现了他在家 乡海城和北京两地的奋斗经理，主人 公作为一村之长，一心为百姓莫福 利，深入群众，贴近群众，同时他也 为实现自己的梦想努力着，通过主人 公个人的追梦历程我们可以看到中华 民族伟大复兴的缩影和横断面。

简介：繁华的街道，穿梭的人群，只有在夜晚才能慢下来。我叫做灿，是一家酒吧的老板，这里也是我的家。在这里我遇到了形形色色的人，听到了许许多多的故事，很多人问我为什么这么沉默，因为我喜欢聆听。每个人都有属于自己的故事，就像水一样，里面有我最珍贵的回忆，如果能做到的话，什么酒都愿意为您调。喝的不是味道，而是喜、怒、忧、思、悲、恐、惊。

简介：A vice inspector for the Paris police takes special interest in the plight of drug-addicted Lucky whom he considers to be more victim than criminal.

简介：苦命女孩郑汉景（李青儿 饰）父母早年离异，一起生活的父亲突然病故，所以她孤身一人来到汉城投靠妈妈。不想，她却在地铁站里目睹了两股校园帮派的火拚，为首的两个帅哥竟然先后走入了她的生活中。其中，霸道蛮横的班海沅（赵瀚宣 饰）是个花花公子，但是因为汉景的出现使其性格发生了转变。温文尔雅的郑泰成（姜东元 饰）是个懂得体贴的谦谦君子，对汉景关怀备至。　　两个帅哥为了争夺女孩展开了一场拉锯战，不但醋意十足，而且大打出手。一时间，女孩成为学校间的风云人物，遭到了不少异性的排挤和非议。单纯的汉景经常会产生幻想和错觉，然而当两个追求者的身份曝光后，女孩才发现了现实竟然如此巧合，又如此残酷……

简介：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.