Edge

准新郎Johnners的伴郎Ledge组织了婚前单身派对，邀请几个密友周末到苏格兰高地的森林进行猎鹿冒险活动，新郎的大舅子Ian也受邀前来。然而，猎鹿还没开始，他们就成了猎物。密友一个接一个神秘死去，他们亲密无间的友谊逐渐土崩瓦解。在这片与世隔绝的黑暗森林中，为了生存下去，他们各自的肮脏秘密慢慢暴露出来，面具之下真正的本性开始显露，这个周末注定是一场堕入地狱的噩梦……

费城的富家千金TracySamantha（凯瑟琳·赫本KatharineHepburn饰）和丈夫C.K.DexterHaven（加里·格兰特CaryGrant饰）离婚了。最近，她准备嫁给一个德高望重的人GeorgeKittredge（JohnHoward饰）。为了报道这场盛大的婚礼，SPY杂志的记者Macaulay"Mike"Connor(詹姆斯·斯图尔特JamesStewart饰）和摄影师LizImbrie（露丝·赫希RuthHussey饰）费尽心思混入Tracy家中。此时，Dexter也来到了Tracy家中要来参加她的婚礼，受到了Tracy妹妹的极大欢迎。在相处中，Tracy也和记者Mike发生了不同寻常的情愫。她发现自己处在三个男人之间，这场婚礼也陷入了悬念。到底Tracy最后到底会嫁给谁，是她的未婚夫，是她...

Ruth & Alex is set over a weekend where a couple (Morgan Freeman and Diane Keaton) must decide whether or not to sell their Brooklyn walk up of 40 - years. The story takes a comedic turn when the dynamic couple have to contend with eccentric open house guests, their pushy realtor niece, and the health of their beloved family dog — all while navigating a New York on edge from what turns out to be an media-generated terror threat.

Onaleaveofabsencefromthepoliceforce,LutherislayinglowinarundowncottageontheedgeofEnglandbutavisitfromhisoldcolleaguesattheMetbringsashockingpieceofnewsthatdrawshimbacktoLondoninsearchofthetruth.Meanwhile,agruesomeserialkillerhasstruckthecity.Withatrailofcluesleadingfromonecrimescenetothenext,Schenkandhisteammustworkoutthetwistedlogicthatconnectseachvictimbutthismurderingmastermindismorethanamatchforthepolice,outsmartingthemateverystep.It’snotlongbeforeLutherisbackintheBullpen,determinedtostealamarchonthekillerbeforeit’stoolate.

Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.

小伙子威廉（希思•莱吉尔Heath Ledger 饰）固然出生于法国的布衣家庭,但从小就妄想当一名骑士,从儿时起就苦练剑术跟马术。但是事先的社会只有贵族才有资历当骑士,于是威廉只当了一宝贵族骑士的随从。 在一次立刻蛇矛交锋中,威廉的主人在场间苏息时忽然不测逝世去。威廉灵机一个,穿上了主人的铠甲,骑上他的坐骑,滥竽凑数并博得了这场竞赛。捧着成功的奖杯,威廉决议继承假冒本人的主人加入在伦敦举办的天下骑士锦标赛,经由过程博得竞赛使本人成为一名真正的骑士。威廉出发了。

WomenHe’sUndressedisacinemalengthdocumentarythatexploresthelifeofAustralia’smostprolificcostumedesigner.UntilnowOrry-Kellyhasbeenunacknowledgedinhiscountryofbirthandprettywellforgottenintheadoptedcountryofhisgreatestsuccess.DuringtheboomyearsofHollywoodhewasthecostumedesigneronanastonishing282motionpictures.HedesignedforthestarslikeMarilynMunroe,BetteDavis,HumphreyBogart,RosalindRussell,ErrolFlynnandmanymoreoftheimmortals.HisfilmsincludedSomeLikeItHot,Casablanca,AnAmericaninParisandNow,Voyager.Orry-Kelly(Jacktohisfriends)wonthreeAcademyAwardsandwasnominatedforafourth.Orry-KellywasHeadofWarnerBrothersCostumeDepartmentduringtherichestperiodofAmericanfilm,theestablishmentofthedreamfactoryanditseffectonmassculture.Hewasoutrageous,witty,outspoken,adrinkeranduncompromisingbuthesurvivedpartiallyprotectedbyhisfriendshipwithJackandAnn...WrittenbyDamienParer

Same-sex couple Eunsoo and Yewon are living together happily. One day, a terrible traffic accident occurs and Eunsoo is seriously injured and her sister Eunhae dies. Eunsoo is disabled and Eunhae’s daughter Soomin became an orphan. Now Eunsoo and Yewon are in a position to take charge of Soomin. Take Me Home is a film that questions the meaning of a family. Right after the accident, Yewon says, “Are we not family? How can one abandon a family member because of what happened?” Eunsoo responds, “Family? Who acknowledges us as a family?” The three women live together as Yewon wished and they hope to be one family. They seem to be living like a happy (similar) family as they spend daily routines and visit the beach. But, like Eunsoo’s hopeless respond, the norms of the world prevent them from becoming one family. The true virtue of this film is in the ending. Instead of a happy or sad ending, this film, like DO Jonghwan’s poem ‘Ivy’, persistently chooses the road of happiness slowly without rushing even if it takes a detour.

本片在澳大利亚80年代初才被允许放映。电影取材自50年代连续杀人魔EdGein的真实事迹。几个年轻人——Sally(玛丽莲·伯恩斯MarilynBurns饰）、Franklin(保罗A.普泰PaulA.Partain饰）、Jerry(阿伦·丹齐格AllenDanziger饰）、Kirk(威廉·韦尔WilliamVail）和Pam(泰瑞·麦克明TeriMcMinn饰），驾驶房车驶入荒漠中的德州特拉维斯镇。途中，一个满身伤痕、丧魂落魄的搭车人（埃德温·尼尔EdwinNeal饰）。勾起了他们的好奇心，他们在他的带领下进入一幢阴森大屋试图弄清真相。大屋被一股神秘、恐怖的氛围所笼罩，仿佛有一双眼睛始终在窥视着他们的一举一动。正当这群年轻人惊恐万分、不知所措时，电锯声骤然而起，他们最后的噩梦随之降临……

贾柯莫·卡萨诺瓦（希斯·莱杰HeathLedger饰）是威尼斯有名的游浪子,从伯爵夫人到禁欲修女,好像每个女人都抵御不了他的睿智跟风骚。终于,他的放纵行动惹末路了宗教局,被捕之后几乎处以绞刑,幸亏友人实时涌现力挽了狂澜。友人忠告卡萨诺瓦,假如不克不及找到一个正直男子完婚,他将被逐出威尼斯。卡萨诺瓦少小时母亲离他而去,而且许下许诺未来会来威尼斯与他重聚,卡萨诺瓦始终信任着这个信誉。为了期待母亲,即便带上了婚姻的桎梏,他也要留在威尼斯。在机遇偶合之下,卡萨诺瓦意识了弗朗西斯卡（西耶娜·米勒SiennaMiller饰）。弗朗斯西卡思惟前卫,饱读诗书又主意男女同等,这所有对见惯了浮浅女人的卡萨诺瓦来说有着致命的吸引力。然而一方面,他们两人都有着未实行的婚约。另一方面,聪明的弗朗西斯卡就像一头彪悍的小马那样难以征服,卡萨诺瓦必需做出伟大的尽力,能力捕捉他的芳心。而在这条艰苦的途径上,卡萨诺瓦垂垂的意会了恋情与饥渴的差别。