征服2009

　　慈祥宽容的奶奶（惠英红 饰）与十二年前意外走失的孙女（刘浩存 饰）重逢，祖孙二人从生疏到彼此依偎。相处期间，她们身上的秘密也逐渐被揭开。最终奶奶拯救了这个本对人生不抱希望的“孙女”。

　　内容讲述1841年英国商人舒狄克(大班)带领舰队，前往中国通商，以鸦片换取茶叶，丝绸及翠玉，煞而遭受满清朝廷禁制，舒舰长于是带领舰队南下占领香港，开辟成为商港，并与其它商人展开勾心斗角的竞赛。但人算不如天算，一场飓风令人他的命运急剧扭转。

　　根据同名小说改编。 文革时期，二队和九队同住在小凉河边。借助这条河的优势，两个队在生产上都取得了大丰收。然而，对于下一步的发展方向，两个队却产生了截然不同的看法。二队要进行水利建设，根治小凉河，实现自流灌溉。县革委会的夏副主任对文革一直持怀疑态度，他更加支持九队的设想，退耕还林，还塘，大兴农林牧副渔的多样化生产，代替单调的、不符合自然法则的“以粮为纲”的生产方向。夏副主任利用县委张书记到大寨学习的机会，实现九队的设想，搁浅了二队的兴修水利的计划。周昌林没有被压服，坚决地和他展开针锋相对的斗争，严正指出：翻案是不得人心的。大队副业会计白汉成依仗表姐夫夏副主任的势力，与富裕中农阮富刚等结成一伙，利用搞副业作地下包工头，把生产队劳力抽出去，还在鱼塘窃取私利，挖社会主义墙脚，并且大造反革命舆论，破坏根治小凉河，使用各种手段给周昌林施加压力。二队社员姚梦田在白汉成的煽动下外出做工，周昌林发觉后飞舟追回，和姚妈妈一起痛诉血泪家史，进行阶级教育。姚梦田沉痛地交出了白汉成和他订立的所谓“互助合同”。周昌林识破这张所谓“合同”，与解放前的卖身契本质一样，认识到堵不住资本主义的路，就迈不开社会主义的步，于是抓住这份活教材，召开了批判资本主义的现场会。白汉成狗急跳墙，下毒手破坏九队的鱼塘，妄图嫁祸于二队，挑动两个生产队的群众斗群众。周昌林识破了他的阴谋，发动群众彻底揭露了这个新生资产阶级分子的面目，耐心地教育帮助徐振才，使他认识了错误。两个生产队并肩奋战在开河工地上，小凉河欢腾了!但斗争并没有结束，要把社会主义革命进行到底，必须以无产阶级专政理论武装头脑，以阶级斗争为纲，坚持党的基本路线。周昌林又敲起了继续战斗的金钟，警钟长鸣，响彻小凉河两岸，在祖国大地上震荡。
　　上海电影制片厂1976年出品，上映仅仅一个余月，粉碎“四人帮”后即停映。

　　一座普通高中内，生活这一群平凡的女孩。貌不惊人的西原梓（石井杏奈 饰）小心翼翼和隶属拉拉队的同班同学搞好关系，只是因为不想重蹈当年被孤立的覆辙。这一日，她被体育老师叫到办公室，由于之前的缺勤导致学分不够，所以必须去参加某个舞蹈比赛补修学分。和她一起的还有性格阴郁的片濑爱海（小芝风花 饰）、家境平平的小泽叶月（小野花梨 饰）、只知道念书的岸本环（秋月三佳 饰）以及相貌凶恶的不良少女贵岛美香（上原实矩 饰）。偏偏担任教练的Kenny（冢本高史 饰）看起来又是一个不太靠谱的男人，因此这支街舞团成立之初可谓历经磨难。好不容易修够学分，不过女孩们似乎找到人生的方向，她们决定再努力拼搏一次……
　　本片根据宇山佳佑的同名原作改编。

　　考完大學入學考，20歲的男同志光浩和朋友到同志酒吧放鬆一下。他在那裡偶然認識了俊，毅然決然跟著他到首爾的家裡過了一夜。

　　豪尔(罗根·勒曼饰)因一部小说而瞬间成名，然而其作品也发展了一出悲剧，他的事业似乎蒙上了阴影，而他过去的黑暗秘密也变得越来越复杂。

　　九十後女導演李在恩、林智善共同執導，一個喜歡李滄東，另一個卻喜歡園子温。差天共地的電影口味，竟碰撞出如《寒假》般的暑假女生版，跳脫慵懶，活潑厭世，清新搞笑，非常亮眼。三個小鎮高中詩友，畢業後各奔前程，一個去了美國，一個去了首爾，各自追尋詩以外的桃源，留下一個在家鄉，每星期仍堅持視像詩聚，只可惜鏡頭的對面，久未見朋友露面。由十九踏入二十，短短一年卻是人生的分岔口。電影點出階級和城市無形的落差，人與人之間微妙的相遇和相處，總是遊走在隱藏與坦白之間，友情的分岔路上又會是一張怎樣的成績「婊」？

　　Golden Bear for Best Short Film (win) - - 2004 Berlin International Film Festival

　　The story of La Maison revolves around 27-year-old Emma, a French woman who heads off to live in Berlin and decides to spend some time in a brothel so as to learn about and understand sex workers – women who are paid to be women and that alone, and who are set to form the focus of her new novel. In gonzo journalism style, Emma becomes one of them and ultimately remains with them for two years, despite only intending to stay for several weeks. Was writing her book simply a pretext for Emma to live out the type of fantasy that’s hard to admit to in our society? From one bedchamber to another and from one woman to the next, the film guides us through a “forbidden” world.

　　Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.
　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).
　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.
　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.
　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.
　　Roger Philip Mellor

本作品是由有点麻烦的男人“卷”起来的“麻烦系”人性电视剧。主演阿部饰演的是市政府的“送别员”牧本壮，是个有点麻烦的男人。不会察言观色，不会听人说话，不会向任何人敞开心扉。这样的牧本在按照自己的规则送别孤独死去的人的过程中，遇到了各种各样的人，虽然有点让人厌烦，但也给他们的心带来了变化。在与这些人的交往中，牧本自己平淡无味的人生也被点缀了起来。牧本的“麻烦”不知不觉中作为“无垢的心情”，给周围和自己带来影响。

　　男孩乔乔（里克·伦斯 Rick Lens 饰）的童年是灰色的，母亲不在身边，对其思念至极的乔乔只能每天通过电话听一听她亲切的声音。乔乔的父亲是个粗暴的男人，他不仅无法给予乔乔他所渴望的父爱，还因为一些生活中的小事对儿子肆意打骂。
　　一次偶然中，乔乔在树下拾得了一只从窝里跌落的雏鸟，在雏鸟的身上，乔乔看到了自己的影子。爱心和责任感让乔乔将雏鸟视为自己的孩子，无微不至地照顾着它，保护着它，对于儿子的举动，乔乔的父亲大为火光，无奈之下，乔乔只得将雏鸟藏在床下。之后，乔乔结识了名为彦瑟（苏珊·拉德尔 Susan Radder 饰）的女孩，就这样，雏鸟有了自己的“妈妈”。