艾曼紐的復(fù)仇
《艾曼紐的復(fù)仇》線上看,由Joe D'Amato導(dǎo)演,George Eastman,等演員領(lǐng)銜主演,影片主要講述了 Emanuelle (Lindt) is out to avenge her sister (Gori), who committed suicide after escaping from her sadistic lover Carlo (Eastman). So she chains him up in her basement, drugs him, and forces him to watch her having sex.,艾曼紐的復(fù)仇"
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少了一些人
澤維爾·塞繆爾,克里斯·馬歇爾,凱文·畢曉普,德波拉·梅爾曼,戴克·蒙哥馬利Travel plans for three men in ill-fitting wedding tuxedos goes horribly wrong. A follow-up to the 2011 comedy 'A Few Best Men'.
幼兒園荒誕夜
皮特·維特科夫斯基,齊伯尼·查馬修瓦斯基,Lena Gora,Masza Wagrocka一名年輕男子不請(qǐng)自來(lái)，參加學(xué)校的戲劇排練，以防一群老師和古怪的父母把他女友的兒子開(kāi)除
走路上學(xué)
丁嘉力,阿娜木齡,曹曦文,陳奕妃瓦娃是一個(gè)7歲的傈僳族孩子，他對(duì)于姐姐娜香每天能和小伙伴一起溜索過(guò)江讀書好生羨慕。媽媽堅(jiān)持要娃娃等爸爸回來(lái)帶著才可以溜索。可是在外打工的爸爸總也不回。 終于，沒(méi)能抵抗住來(lái)自對(duì)岸的誘惑，瓦娃獨(dú)自偷偷溜索過(guò)江了，看到了心儀已久的學(xué)校！沒(méi)想到，瓦娃溜索過(guò)江的秘密居然被第一次來(lái)家訪的聶老師戳破了！是聶老師送來(lái)的那雙紅雨鞋把瓦娃留在了家里。 他答應(yīng)媽媽和姐姐：有了這雙鞋，他就不再偷著溜索。 第二天一早，懂事的瓦娃又把這雙漂亮雨鞋還給了姐姐。 日子就這樣平靜地過(guò)著。誰(shuí)也想不到，因?yàn)橼s著給弟弟送一雙新鞋回來(lái)，姐姐娜香失手從溜索上墜落江中……
外星博士
阿克曼博士是當(dāng)?shù)匾凰髮W(xué)的生物老師，他在被不明飛行物追趕時(shí)遇到了意外的死亡。韋斯利，他的一個(gè)學(xué)生，在吸引女性方面有困難。這一切都發(fā)生了變化，當(dāng)Xenobia女士接管了阿克曼的課程，并說(shuō)服衛(wèi)斯理參加一些維生素研究，她和她的助理Drax正在進(jìn)行。突然，韋斯利變得很有魅力，盡管在興奮的時(shí)候，他的腦袋里長(zhǎng)出了肉質(zhì)的天線。他新發(fā)現(xiàn)的成功可能會(huì)疏遠(yuǎn)他真正關(guān)心的那個(gè)女孩(Leeanne)，而Xenobia的動(dòng)機(jī)可能與她不是這個(gè)地球的事實(shí)有關(guān)。
戀愛(ài)戲曲 請(qǐng)和我戀愛(ài)吧
深田恭子,椎名桔平,塚本高史,中村雅俊,清水美沙,西村雅彥,井上順關(guān)東電視臺(tái)即將開(kāi)播一部新劇，素有戀愛(ài)劇女王之稱的王牌編劇谷山真由美（深田恭子 飾）獲邀負(fù)責(zé)劇本創(chuàng)作。然而劇集開(kāi)播在即，谷山的劇本仍處在難產(chǎn)之中。電視臺(tái)方面已然焦急萬(wàn)分，而內(nèi)部編劇部和制作部又有各自的小九九，使得新劇的命運(yùn)愈加多舛難測(cè)。危急時(shí)刻，制作部派出一個(gè)肉腳制片向井正也（椎名桔平 飾）監(jiān)督谷山的創(chuàng)作。面對(duì)光芒萬(wàn)丈的谷山，缺乏經(jīng)驗(yàn)的向井小心應(yīng)付，還要被迫和谷山貪戀愛(ài)尋找靈感。與此同時(shí)，編劇部得知制作部的動(dòng)向，旋即派出經(jīng)驗(yàn)豐富的柳原恭一郎（塚本高史 飾）與谷山大談戀愛(ài)，并監(jiān)督劇本的創(chuàng)作。 在這一過(guò)程中，谷山逐漸開(kāi)始正視自己的現(xiàn)狀，而向井又能否完成這項(xiàng)不可能的任務(wù)呢？
從今天到明天
Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.