深水

简介：夜深人静，白日的束缚悄然褪去，是时候迎接真实的自己。在这里，我们为您准备了一场感官的极致盛宴。每一次心跳，都是对寂寞长夜最有力的回击。探索未知，体验前所未有的私密与刺激。别再压抑，点击开启属于你的午夜狂欢。

简介：Alex is a shy accountant living in London. He is reluctant to step out of his comfort zone, but when he falls in love with an adorable French artist named Penelope, he pretends to be a talented artist himself; and now he needs to win a Modern Art contest to prove it.

简介：

卡丝卡和派翠克怀疑彼此出轨，恋情面临考验。更雪上加霜的是，他们的邻居非常爱管闲事。

简介：以东京洲崎的风月区为背景舞台，而以一对因被父母反对成亲而出走至东京的恋人茑枝及义治为主角，刻划他们寄栖于风月区小酒馆及面店的求生故事。导演川岛雄三忆述在拍摄期间，在当地新旧两帮黑社会势力之间周旋，而警方全无援手，令他充分感受到电影人正是现代“游侠”的化身──戏如人生，川岛雄三的电影生涯和事业，也正好体现出“游侠”的精神。

简介：《橄榄树》是一部西班牙影片，讲述了叛逆女孩阿尔玛为了病重的爷爷，决心寻回15年前被卖掉的两千多年树龄的橄榄树。爷爷爱护珍惜橄榄树，和其他为了利益而不惜破坏环境的人形成鲜明对比。阿尔玛决心寻树的行动也逐渐感染了其他人。影片引导人们关注环境、重视传承，片中涉及亲情、友情等，不乏各种感动的细节。

简介：这是三个关于“误解和爱”的真实故事，远赴美国结婚的拉拉朋友、被职场质疑的Gay同事、想带男朋友回家的亲弟弟……三组截然不同的关系，从误解到和解，无论你爱的是谁，你都是我最亲爱的同志。　　出品：GaySpot乐点杂志　　监制：赵珂 莫然　　导演：叶明 甄晨　　主演：汤碧娣 阿夜 小狐狸 婷婷 哪咤 Nero 耳麦 王路 蒙麓野　　策划：毛毛雨 穆蓝 Law 段帅 萌萌 王大湿　　翻译：Zhiming　　资助：荷兰大使馆　　场地：小学咖啡（合肥）

简介：安迪（Al DI 饰) 和Beautiful Bill ( Carson Mell 饰) 是世界上最好的兄弟。一日，Bill 认为两人的世界很不完美，由于兄弟二人皆无来自于女人的爱。随后兄弟二人踏上了寻爱之旅，而在这个过程中，二人也经历了爱恨情愁。

简介：艾莉雅在孤兒院工作時，認識了青少女娜迪亞。娜迪亞說她聽見牆壁發出怪聲後，兩人試著找出來源，情況卻演變到難以收拾的程度

简介：

　　魁北克住着一位极有名望的教授，尼古拉·吉蒙。如今他年事已高，记忆减退，弯腰驼背。身为医生，是无法对自己的身体状况撒谎的。如果有人问他，今天的日子有什么特别之处时，他会说，失眠，十一点准时入睡，两个小时之后再次醒来，如此反复。面对生活琐事他感到一丝厌倦，然而，他热爱教学。这一天，一个女人的忽然拜访，拿出了十分具有纪念意义的物件，让吉蒙教授想到了他...

简介：

David Wells可以说是活得春风得意。从前过着贫寒的生活的他，现在有着银行职员的的工作，还与一位爱着他的美女订了婚。他们住在一幢漂亮的房子里，有着众多成功、富有爱心的朋友，但其中有一位可能太富有同情心了。David的好友Jack不喜欢自己中阶级的生活，而这种想法缘自一个装作验尸官从尸体上掠取贵重物品的人。David把Jack的观点当作耳边风，还是一如既往地奔赴两年期的评论工作，希望努力工作能换来丰厚薪酬。但意外地，他被解雇了。他的生活会就此崩溃吗？

简介：

黑猫（许冠杰 饰）身手敏捷，小有名气。一次，他在巴黎时忽然遭到不明身份的女杀手袭击，当他和对手一路打斗来到铁塔时，伏击在此的大钢牙和刚帽突然出击。措手不及的黑猫眼看性命不保，纵身跳下了塞纳河。

简介：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