鬼马双星

　　在当代的穆斯林国家里，某些场所仍然禁止妇女抛头露面或者进入。2005年世界杯外围赛，伊朗国家足球队将在本土的德黑兰体育场与巴林展开关键的一场厮杀。伊朗的球迷从四面八方赶来，为了深爱的国家队摇旗呐喊，站脚助威。这些球迷无一例外都是男性，当局以女性出席这种场合可能会受到污言秽语侵染为由，禁止女性走入体育场。但是仍有那么几个女孩子为了各种理由乔装打扮前来，但通过士兵的层层防守谈何容易……
　　本片荣获2006年柏林国际电影节银熊奖、2006年吉耶国际青年人电影节最佳女主角奖和评委会特别奖。

　　乔千言，叛逆少女，转学青川中学后重获新生。在同桌陆晚舟的陪伴与同学们的支持下，她感受到友谊的温暖。然而，高考前夕因病离开，同学们思念不已。乔千言通过明信片传达感激，传递友谊。青川中学注重全面发展，乔千言的故事鼓励我们珍惜情感，勇敢面对挑战。

　　超萌超可爱的熊猫幼崽呼呼被国际功夫巨星Jackie（成龙 饰）认养，满心期待开启新生活。然而，呼呼独有的“大小眼”特别基因却被国际犯罪组织盯上了，组织首领不惜悬赏雇佣兵一亿美金发起了一场熊猫抢夺战。面对突如其来的危机，新晋奶爸Jackie怎能袖手旁观？他联手金牌经纪人（魏翔 饰）与熊猫保育员（史策 饰）全力展开营救！万万没想到……这群反派好像不太聪明，一场惊险刺激却又荒诞可笑的守“呼”行动就此开启。

　　高中生乔（汤姆·克鲁斯 Tom Cruise 饰）为学业所困扰，连春梦往往也以考试迟到作为结束，成绩不佳令他的大学前景堪忧，中产阶级父母则为他联系了普林斯顿大学的面试。在父母外出期间，乔与朋友们筹划赚钱项目，又因一场恶作剧阴差阳错结识了应召女郎拉娜，拉娜给予乔温存，却又把他卷入了一系列麻烦：家中失窃、皮条客驾车追逐……令乔焦头烂额，但在这诸多意外之中，乔与拉娜愈发亲密，并最终同意了拉娜的主意——在家中举办派对，通过为年轻人介绍应召女郎抽水盈利。于是家中无父母，屋宅变欢场，夜夜笙歌之时，普林斯顿大学的面试官突然到访，乔仓促应对，未知大学前途究竟如何？

　　这是《男人的争斗》（Rififi）的搞笑版。两个小偷带领一群小混混进行一个宏伟的偷盗计划。他们打算从一处公寓挖一个地道，进入附近一家商店，结果地道挖进了公寓的另一个房间，这只是一个小差错。反正这群笨贼该犯的错全犯了，而那个要偷的保险箱似乎唾手可得，但他们就是没本事得手。
　　影片有一流的表演，每人都有闪光的机会。1987年推出续集。该片在一定程度上开创了“笨贼漫天飞”的喜剧类型，很多国家的此类影片均受到本片的影响，美国曾推出两部正式重拍版。

　　故事分成三個章節：主要的章節由高達親自飾演導演，正要趕乘飛機，在24小時內把一部電影的菲林交給監製；同時一隊二人流行電子音樂組合，不斷排練歌曲，最後在路上表演；另一邊廂，愚笨的大肥佬捲入一宗事件，被神秘女人密切監視，最後更被拘捕。三段故事看似毫無關連，實際是高達以電影來討論電影製作和藝術創作的重要。片名看似帶有弦外之音，就像高達暗示，假如監製或其他人要干擾導演的藝術創作，就索性我行我素，忠於自己的道路好了。這大概亦示範了高達如何純熟地運用電影媒體來做評論。
　　A film in three chapters: Godard plays the director in the main chapter, rushing to catch a plane to pass the negatives to his producer within 24 hours; an electronic duo keeps rehearsing for their roadshow; a clumsy fat man gets involved in an incident, and is arrested after being watched by a mysterious woman. Seemingly unrelated events, Godard is discussing the importance of film producer and artistic creativity. Godard is making the statement that if a producer or anyone interferes with creativity, it is better for the artist to go one's own way. A showpiece of how Godard uses the film media as his critical essay.

　　《什么叫做爱》2013年爆笑情感微电影，通过一部神器的电话，引发的爱情，喜剧，励志，情感，动作，惊悚奇幻故事，诠释不一样的爱情观。比邻，一款只打给陌生人的电话。每一次的相遇都是难以释怀的期待，期待与你在这里的相遇。

　　This is story about a dentist with the talent of painlessly extracting teeth, and what happens to him as a result of being naturally good at his job. It is told with humour (much of it quite subtle, almost surreal, and in the background - imagine a street scene where everyone on the sidewalk on one side of the road walks in just one direction, and on the other side in the other), poignancy, and a frequent breaking of the 4th wall between the movie and the audience (think of what happens in Shakespeare's plays, and you'll be close). It also features some songs by Novella Matveyeva, a famous Russian singer-songwriter (her songs are sung by the leading actress).

　　懵妹乃巨富爵士之独女，承继大笔遗产，下嫁大滚友，风流成性，情妇无数。扮醒靓妹－懵妹之表妹，偶然机会，揭发楚原劣性，遂教懵妹骗走老公，出嚟滚靓仔，一于报复送绿帽老公戴。谁知！滚着……新扎师兄、龟公、憨居佬、咸湿佬、放蛇警官及黐线佬，最后更引来大贼绑架。

　　艾利克斯（马提亚斯·施维赫夫 Matthias Schweighöfer 饰）个软弱而又怯懦，女友卡罗琳（马维·霍比格 Mavie Hörbiger 饰）在怒斥其根本就不是一个真正的男人之后选择了离他而去，艾利克斯亦只能暗自伤心。事后，艾利克斯痛定思痛，决定重新学习，如何成为一名真正的男子汉。
　　砍树、喝酒、在酒吧泡妞，当艾利克斯逼迫自己去做这些自己根本就不喜欢做的事时，等待他的结果只有失败。某日，艾利克斯遇见了名为内尔（西贝尔·凯基莉 Sibel Kekilli 饰）的年轻女子，内尔的温柔和善良深深吸引着艾利克斯，他觉得自己重新坠入了爱河。然而，就在这个紧要关头，艾利克斯软弱的性格再度发作，面对所爱之人，他能够鼓起勇气，去做那个真正的男子汉吗？

　　Based on an unknown Schönberg 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 Schönberg’s atonal score, performed here by 70 musicians. That Schönberg 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 Schönberg’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 Schönberg canon—and the film such a challenging and intriguing experience.

　　GoodBye presents a heart-warming story about life, family and relationships.