五感图

这里的主人公们讲述着他们隐秘的爱情，来刺激你的五感……第一次相遇的他和她之间的刺激的一夜情：每天乘坐快速列车上班的民秀(张赫饰)对坐在自己前排的魅力女人智苑(车贤贞饰)一见钟情，跟着她下车的民秀终于拿到了联络方式，几天后，民秀计划与她有特别的第二次的相遇。深爱的夫妻让人伤心的捉迷藏：炫佑和慧琳是一对深爱的夫妻，每天下班回来后炫佑都会细心照料病床上的妻子。知道自己即将要离开人世的慧琳因不能为丈夫做任何事情感到愧疚，唯一能做的事情就是在丈夫下班回来的时候，慧琳藏在房子里的各个角落，和丈夫玩捉迷藏。两个女演员诱惑怪癖导演：在电影拍摄现场，新人演员美珍(金敏善饰)和前辈演员华兰为固执怪癖的导演(金秀路饰)感到头疼。前辈华兰决定把美珍训练成妖艳性感的女人来诱惑导演……与丈夫的情人开始同居生活：贞河(严贞华饰)突然接到丈夫因意外死去的消息，更让她震惊的是丈夫竟然瞒着自己正和自己的后辈娜露密会。发生事故后娜露找到贞河，提议一起生活。高中生危险的交换情侣游戏：三对高中生情侣是好朋友，不敢确信彼此感情的他们决定互换一天情侣，由此开始了危险的约会。他们隐秘、特别的故事开始了……

尘封往事

纳粹大屠杀已成过去，但往事并不如烟。两姐妹是以色列幸存者之女，妹妹在柏林被骂是“杀人凶手女儿”，姐姐对独裁生父本来心怀怨愤，对父亲承认战时在波兰忍辱求存的故事半信半疑，决意追查家族隐藏秘密。埋于心底回忆遂步解封，却撕开新的伤口淌血，姐姐更将患癌归咎于父亲罪孽的因果报应。 过去萦绕，忏悔能否得到谅解，以宽恕化解仇恨？

且听风吟

80年代初頭。東京ー神戸間を結ぶ高速バス・ドリーム号のチケットはもう売られていなかった。10年前の夏休み、大学生だった僕（小林薫）は神戸に帰省した。昔馴染みの「ジェイズ・バー」では、中国生まれのバーテンダー（坂田明）が笑顔で迎えてくれる。このバーで春に知り合った親友の鼠（巻上公一）もずっと僕の帰りを待っていた。それだけではない。ラジオ局からの不思議な電話とビーチボーイズの「カリフォルニア・ガールズ」。左手の指が4本しかない女の子（真行寺君枝）も僕を待っていた。そして何かが終わる予感。・・・79年群像新人文学賞受賞の村上春樹、32歳のデビュー作を29歳の大森一樹監督が映画化。(ぽんしゅう)

自杀游客

身为保险公司调查员的麦斯，因为找寻失踪的客户，而意外发现一间隐密在深山的旅馆，专门以服务享受各种自杀幻想的顾客群为主。而当他化名混入旅馆进行调查之后，才发现这间旅馆的经营另有蹊跷，唯一能离开的方式，只有真正的死亡……

初心

1949年，解放军和平解放新疆，新疆军区成立，甘祖昌担任后勤部副部长。当时，敌特支持投机倒把分子新疆扰乱物价，大肆垄断黄金银圆，妄图从经济上困死解放军，甘祖昌低价将银圆投入流通市场，打击奸商气焰，稳定市场，稳定新疆政局。其后，敌特分子为报复甘祖昌制造车祸，令他头部重伤。1955年甘祖昌被授予少将军衔，和他同村同时入伍的李保山则授校衔。李对甘很嫉妒，违纪后被解职回乡。甘祖昌脑震荡后遗症严重，自觉不在适合服务军队，加之回家后看到家乡虽解放但生活仍贫困，自请辞职，解甲归田，回到老家江西莲花县沿背村。回乡后，他不辞辛劳，继续为家乡经济建设做贡献。他排除万难，修整水旱田，修建水库，创建公社农科所等，使农民生活大有改善。甘祖昌不恋高位而选择奉献，不图享受而甘于奋斗的精神成为领导干部的楷模，时代的先锋。

薄化妆

　　古田求编剧的这部凶杀影片，以令人发指的剧情描述了主人公的丧尽天良，看来令人不寒而栗，也让人对生命的意义有所思索。故事背景自1948年一宗矿坑坍塌展开，矿工坂根代表20名死者家属与老板谈判赔偿，可是却昧着良心收受一大笔贿赂而发财。他垂涎一位矿工的遗孀照子，并把知悉情况的妻子杀死埋于地下，还假称妻子与人私奔失踪。他把照子带回家中，因儿子极力反对，又以带儿子找妈妈为名，把儿子骗到山上杀死。当照子生病住院后，坂根又和一个向他借债的妇人发生关系，并欲霸占她18岁的女儿弘子为妻，遭到拒绝后丧尽天良的他又火烧其家……后坂根以谋杀罪入狱，1952年掘地道越狱逃亡……

谈谈情 说说性

向西望（葛民辉 饰）经营着一间皮肤病诊所，专为因寻花问柳而不幸染病的男士们提供治疗。向西望以其精湛的技术和热情的服务赢得了众多客户的亲睐，将诊所运营得风生水起，再加上一个妖娆多姿的女助手马晓阳（卢巧音 饰），两人之间的配合天衣无缝，如虎添翼。　　王菲菲（李茏怡 饰）是娱乐圈里冉冉升起的新星，一次偶然中，她在会所结识了名为陶兵（梁俊一 饰）的按摩师，两人一见钟情，很快坠入情网不能自拔。然而，这将注定是一段没有结果的感情，因为王菲菲和陶兵都各有恋人，尽管感情已经随着时间的流逝而逐渐淡漠，但两人想要走到一起，中间阻隔的，却并不只是千山万水这么简单。

欧洲的某个地方

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.

吉原炎上1987

爱的教育

生死劫

胭妮（周迅 饰）的父亲是一名农民，她的母亲在下放的时候嫁到了当地。母亲没有让她在农村长大，不到一岁就把她送到北京，让姥姥带大。因为从小就离开了妈妈，让她感觉自己的存在似乎不是那么重要，生活在姥姥家中更是觉得寄人篱下。性格也变得孤僻起来，沉默寡言。 　　大学的录取通知书让她感觉自己的生活有了新的景象，可是他遇到了木玉（吴军 饰）——一名货车司机。她被突如其来的爱情冲昏了头脑。直到后来，她才知道自己的赌注下大了，木玉只想利用她生小孩，然后卖掉小孩换钱。 　　胭妮面对如此打击并没有就此放弃，而是坚强地活下去……

霸道爱情之恋上灰姑娘

帅气的外表、出众的能力，传媒界策划高手、年青老总、魅力男神徐浩泽加班回家，巧遇杂志社完美女神张欣怡，一见钟情，产生了一段甜美的爱情，并且发生了......25岁的张欣怡，人生第一次经历完美男人对她的热烈追求，她变得不知所措，命运般的陷入到徐浩泽的魅力中，以激动的心情等待徐浩泽与她的再次约会，不料张欣怡平凡的家庭却遭到徐浩泽妈妈的反对，希望给儿子找个门当户对的女友同时，她公司的老板，中年离异事业有成，也对她展开了热烈的追求！当加拿大留学归来的富家女丝丝出现在男主徐浩泽家里，男主的妈妈会是怎样的态度？同时误认为被感情欺骗的女友在同事的鼓励下，加入了相亲的队伍...艰难的爱情能否继续呢。。。