处于浮华城市之中，有些人渴望的仅仅是不知何时才会出现的一线光。　　独力经营清洁公司的窄哥（张继聪 饰），面对疫情来袭，百业萧条，遇上失业的年轻单亲妈妈Candy（袁澧林 饰）前来求职。看似不务正业的Candy竟能化解窄哥工作上的困难，正当二人以为生活渐入佳境，疫情变成生 活一部分时，清洁公司遭人投诉，同时窄哥家中又遭逢巨变。尽管人如微尘，也能在窄路遇上稍作依偎......

　　Social realism regarding struggles of reservation-dwelling Native Americans in the North Central states of the US. Main character is an introspective and lovable person in a process of seeking pride and identity through tradtional and mystical means of gathering power. His high school friend, who is a Vietnam War Veteran, is exerting power as a highly principled social activist, using a modern rational materialist adversarial model of progress.

　　2007年波哥大电影节最佳哥伦比亚影片奖　　2008年卡塔赫纳电影节最佳哥伦比亚影片奖　　2008年利马拉丁美洲电影节观众奖第二名　　2007年圣塞巴斯蒂安国际电影节平线评审特别奖　　根据马里奥·门多萨（Mario Mendoza）的同名心理惊悚小说改编的作品《魔鬼：杀手档案》（Satanás），由哥伦比亚新人导演Andres Baiz执导，成为去年的电影热门。小说本身是基于1986年发生在哥伦比亚首都波哥大的“Pozzetto大屠杀”- 一个越战退伍士兵杀死29个大部分并不相识的陌生人、然后自杀的事件为原型（维基百科词条里写的是:共有30名死者，而杀手乃被警方打死）。　　影片讲述了3组不同的人物的故事：一个杀死自己三个孩子的母亲和一位想忠于上帝的神父；被迫沦为妓女的宝拉；一位曾是越战士兵的英语老师与她的女学生纳塔莉娅... 在被他们内心的恐惧、欲望、痛苦，以及外界的诱惑所笼罩的世界中，他们都在挣扎着在寻找爱、救赎，和第二次机会... 不过最后，他们的自私、不安全感还是导致了他们最终的堕落...

　　女记者不顾生命安全追踪一桩命案,没想到却掀起一场巨大的风波.

　　“郁卒”被捕入狱后又不幸罹患罕见的肿瘤，当医生告诉他只有一个月的生命时，他不愿就这样死去，一心想找机会越狱去寻找传说中的圣湖，所以他挟持治疗医师雷诺博士展开一场生命探索之旅……

　　Joe Thunderhorse, a Sioux Indian who has become the wealthy star of a Wild West show, returns home to his reservation after years away and finds that his father is dying and his people are being abused by corrupt white officials.

　　Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.

　　A retelling of the Greek myth of Phaedra. In modern Greece, Alexis's father, an extremely wealthy shipping magnate, marries the younger, fiery Phaedra. When Alexis meets his stepmother, sparks fly and the two begin an affair. What will the Fates bring this family? Alexis's roadster and the music of Bach figure in the conclusion.

　　格里高利·派克主演的美国生物学家被当作间谍，潜入红色中国，窃取农业改良生化酶配方。他的上司在其脑中植入微型炸弹，一旦任务失败，就遥控爆炸......

　　阿敏（钱佩怡 饰）和父亲相依为命，两人守着位于紫云山半山腰上的一片茶园，这是祖上传下来的家产，亦是父女两人赖以生存的收入来源。每一年，杭州城里的尹家都会来阿敏的茶园里收茶叶，就这样十五岁的阿敏遇见了尹家的大少爷尹逸白（盛翔 饰），尹逸白的一举手一投足都令阿敏深深地着迷着，尹逸白离开后，阿敏第一次有了心事。　　让阿敏没有想到的是，当她再度见到日思夜想的尹逸白时，他身边站着的女人，竟然是尹家的少奶奶，阿敏的一颗心还没有落下，便放空了，十六岁的阿敏第一次品尝到了感情变幻莫测的滋味。还未来得及整顿情绪，战争便开始了，战火绵延燃烧，最终烧到了阿敏的身边。

　　20世纪40年代，随着重庆地下党遭到破坏，革命斗争形势越来越严酷。为了开展地下工作，被人们称为“江小妹”的江竹君与地下党负责人彭咏梧假扮夫妻作为掩护。这个年轻姑娘不仅协助老彭出色地完成了各项任务，还配合陈然办起了《挺进报》，极大地鼓舞了同志们的革命斗志。　　不久，老彭妻子幺姐在家乡遇难的消息传来，彭咏梧在承受着精神打击的同时，仍然忘我地从事地下工作，这使本来对他就有敬佩之情的江竹君开始萌生出爱意。经组织批准，两人正式结为夫妇。然而此时，幺姐却突然出现了。面对幺姐的“声讨”，江竹君表现出了超凡的胸怀和气度，这使幺姐由衷钦佩，愤怒和疑惑豁然冰释。为了配合全国解放，彭咏梧前往川东组织农民暴动。随后而去的江竹君，在途中得到了由于叛徒出卖而使农民军失败的消息和老彭被害的噩耗。　　为了纯洁队伍、替牺牲的亲人和同志报仇，江竹君不仅开始了秘密追查工作，而且一次次使同志们和革命群众转危为安，从而赢得了人们的爱戴与信赖，成了人们心目中的大姐。就在她的调查即将接近事实真相时，她却不幸被捕了。　　身陷囹圄的江竹君，用她超人的毅力和大无畏的革命精神深深感动了所有人，并使叛徒“乌贼”的真面目大白于天下。最后，江竹君和她的难友们在新中国成立的礼炮声中微笑着迈向刑场……

　　宋朝仁宗年间，灾荒连年，契丹又屯兵中原边境，形势十分恶劣，而太师府却是一派娱乐升平，边关信使前往太师府向三司使张之平告急，告知一百万两军饷被扣，河东三军就快断炊，军中十万火急。假传圣旨的太师心中暗惊，派人假扮契丹人追杀信使，信使不敌，重伤倒在开封府前。包拯目睹信使被刺，心中疑团顿起，觉案情重大，遂面陈皇上，决定亲往河东查访，包拯几人冲破重重艰难险阻，终于来到边关兵营，了解到军中实情，不由怒火中烧。……