我看过的最美的一部伊朗电影！　　波斯绣毯世界闻名，一对老夫妇就拥有这么一张绣毯，上面绣着人物图案。当他们清洗绣毯时，从绣毯中奇异地走出一个姑娘，并讲述了一个忧伤的故事：姑娘与一个骑手两情相悦，他们的爱情却遭到了家族的反对，姑娘父亲甚至设置了种种障碍。在重重压力下，他们依然苦苦坚持，姑娘家庭属于游牧民族，经常迁徙，痴情的骑手便紧紧尾随在后面，陪伴着姑娘直到定居地点。安顿下来后，姑娘决定与骑手私奔，就在他们策马狂奔出走的时候，发现他们踪迹的人群紧紧追赶，并用枪结束了这对有情人的生命。原来这就是绣毯上的故事。

　　马洛（迪克·鲍威尔 Dick Powell 饰）是一名独来独往的私家侦探，某日，马里特（Douglas Walton 饰）找到了马洛聘他当自己的保镖，结果马洛却莫名其妙的挨了一顿打。之后，一个叫安（安妮·雪莉 Anne Shirley 饰）的女孩现身，她告诉马洛，他所遭遇的一切和她的继母格雷尔夫人及其所拥有的翡翠有着千丝万缕的关联。对翡翠深感好奇的马洛决定将这一连串的事件调查个水落石出。　　在安的协助下，马洛对事件的全貌渐渐的有了了解，而隐藏在背后的，是安的父亲（迈尔斯·曼德 Miles Mander 饰）。不仅如此，不久之前，马洛受雇寻找一个名叫维尔马的女子的下落，这名女子竟然也被牵连进了翡翠的案件之中。

　　To win the hand of the caliph of Bagdad’s daughter (played by Julanne Johnston), a thief (Fairbanks) embarks on a dangerous and mystical journey to secure the most desirable treasure imaginable.　　The film was a popular success, and Fairbanks made women swoon as one of the screen’s first superstars. Known for his dashing demeanour and incredible stunts, Fairbanks, who would also routinely contribute to the scripts of his films under the pseudonym Elton Thomas, actually created the story for this version of The Thief of Bagdad and included types of special effects and production design never previously seen by audiences. The film was remade several times, of which the most notable is the 1940 British film directed by Ludwig Berger, Michael Powell, and Tim Whelan.

　　斯苔芬尼（Elzbieta Starostecka 饰）虽然出身平凡，但拥有着聪慧的头脑和善良的内心。她前往马修公爵（Czeslaw Wollejko 饰）家中担任家庭教师的职务，在一次偶然中邂逅了马修公爵的孙子瓦尔迪马（莱赛克· 泰来钦斯基 Leszek Teleszynski 饰）。斯苔芬尼不同寻常的气质和谈吐一下子就吸引了瓦尔迪马，令他坠入了爱河之中。　　然而，这段贵族和平民之间的感情很快就遭到了瓦尔迪马的姑妈的强烈反对，她看中了一位名叫梅拉尼（安娜·迪姆纳 Anna Dymna 饰）的贵族小姐，认为她才是成为瓦尔迪马的妻子的最佳人选。然而，马修公爵对这段感情显然有着不同的看法，因为他年轻时也经历过同样的抉择。

一个被陷害的骗子雷奥必须假扮成一个正统的犹太教人士才能躲过追杀，老大杜赫斯对骗子穷追不舍， 发誓要用尽一切方法把他杀掉。假扮成犹太教教士的他边躲避追杀，边闹出一系列让人捧腹大笑的囧事。

　　根据奥斯丁同名小说《诺桑觉寺》改编而成。　　乡村牧师之女凯瑟琳（Felicity Jones饰）是个天真烂漫的少女，受闭塞的家庭环境所限，她终日在小说天地里徜徉探幽，以此为平淡生活增亮添彩。　　在有钱朋友的引领下，凯瑟琳进入了上流社会的社交圈，她终于见识到现实中的花花世界，其中不乏虚伪狡猾者如索普兄妹和蒂尔尼将军，也有值得终身结交的挚友艾丽诺。凯瑟琳和艾丽诺的哥哥：温文尔雅、俊逸潇洒的亨利（JJ Feild饰）一见倾心，再见钟情，理所当然的，迎接他们的也将是奥斯丁的男女主人公势必经历的种种磨难和考验。

　　故事发生在上世纪六十年代的哈萨克斯坦，丹尼尔（米勒·尼尼兹 Merab Ninidze 饰）是一名军医，在航天局里工作。他的主要职责是负责管理那些为了走向太空而接受着严苛训练的预备航天员们的健康，但看着这些年轻人们一次又一次的为了国家献身，在死亡线上徘徊，丹尼尔的内心充满了纠结和迷惘。　　丹尼尔和妻子妮娜（楚潘·哈玛托娃 Chulpan Khamatova 饰）结婚多年，两人的感情终究是没能敌过美女薇拉（Anastasiya Sheveleva 饰）的诱惑，丹尼尔背叛了妻子，和薇拉好上了，最终，丹尼尔决定抛弃妻子。让众人都没有想到的是，丹尼尔的忽然病重让妮娜和薇拉这两个女人的命运再度纠缠到了一起。

　　克莱尔·芙伊、詹姆斯·麦卡沃伊将主演惊悚新片[我的儿子](My Son，暂译)。该片改编自2017年法国同名影片，原版导演克里斯蒂安·卡里翁将执导这部英语版影片。麦卡沃伊将饰演一位儿子失踪了的父亲，他前往前妻(芙伊饰)居住的小镇，寻找谜团的答案。为了体现迷惑感，麦卡沃伊将不会拿到剧本，而是根据每场戏的发展即兴发挥。STXfilms拿下该片北美发行权。

　　有一个古老的仪式已经为人所知超过一百年了。传说，人们对着镜子说三遍黑桃皇后的名字，她就可以通过画在镜子上的门和楼梯被召唤出来。黑桃皇后从照镜子的人中获得能量，她会剪睡梦中的人的头发，那些看到她的人不是疯了就是死了。四个年轻人开玩笑决定要召唤她，但是当其中一个人死于突发性心脏病，剩下的几个人意识到他们要面对的是匪夷所思的事件和死亡的危险。

　　一群年轻学生选择在巴塞罗那开展“伊拉斯谟”项目。所有人都有同样的决心:尽情玩乐。西班牙学生蒙策在家里接待了这群“伊拉斯谟”成员参加国际学生晚宴，一晚的娱乐变成了数小时的恐惧和恐惧。。。

　　爱玩手机的凯西在邻居家帮忙顾小孩时，惊觉自己的手机电量急速下降，最糟的是她带错充电线！心急如焚的她闯进地下室寻找充电线，凯西不经意发现一台老旧电视，转动频道钮后萤幕竟然亮了起来！萤幕内播送一个又一个恐怖故事，杂讯和死神的耳语交织，凯西脸上饶富兴味的笑容渐渐消失，随着她转身逃跑，身后响起：「凯西，你是我的了......」

　　After the suicide of her only friend, Rachel has never felt more on the outside. The one person who reached out to her, Jessie, also happens to be part of the popular crowd that lives to torment outsiders like her. But Rachel has something else that separates her from the rest, a secret amazing ability to move things with her mind. Sue Snell, the only survivor of Carrie White's rampage twenty-two years ago, may hold the key to helping Rachel come to terms with her awesome, but unwanted power. But as Rachel slowly learns to trust, a terrible trap is being laid for her. And making her angry could prove to be fatal.

　　在逃离恶魔恐怖的两年后，阿尔菲（切尔西·伊斯兰）和奈良（哈迪亚·沙哈卜）试图继续他们的生活。但是阿尔菲仍然感到内和不自然的视线困扰。阿尔菲最可怕的噩梦才刚刚开始，等待她的危险正日益威胁着：如此渴望灵魂的黑暗形象开始夺去他们的生命。

　　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

　　1817年，法国大作家司汤达来到意大利，在佛罗伦萨终日沉醉于文艺复兴时期的大师杰作。一天，他到圣十字教堂参观米开朗基罗、伽利略和马基雅维利的陵墓，刚走出教堂大门，突然感到头脑纷乱，心脏剧烈颤动，每走一步都像要摔倒。医生诊断这是由于频繁欣赏艺术珍品使心理过于激动所至，这种 因强烈的美感而引发的罕见病症从此被称为“司汤达综合症”。　　直到今天，佛罗伦萨的医生仍会不时碰到“司汤达综合症”患者，病情严重的甚至要住几天医院。他们多半是狂爱艺术且极具鉴赏力的游客，野心勃勃，要在几天之内扫遍这座文艺复兴中心城市的艺术宝藏，结果却在接踵而来的视觉冲击中不堪重负。但意大利人对“司汤达综合症”有百分之百的免疫力，对他们来说，文艺复兴的辉煌，像空气一样无所不在，从幼年到迟暮，他们的生活里一直流动着达芬奇、米开朗基罗、拉斐尔那个天才时代的气息　　电影中的女警官，和当年的司汤达一样，被乌菲齐美术馆美不胜收的藏品折磨得当场昏倒。佛罗伦萨警校肯定不设心理测试这一关，否则她无法毕业。而歹徒又怎么知道她有这个毛病？大概是阿金托透露给他的……

　　Alejandra与好友完成一笔大生意和丈夫Oscar愉快通话，却在几个小时后接到警局电话，被告知丈夫自杀了。在葬礼上她发现了Oscar手机里与另一个女人的亲密视频，愤怒的她不顾一切去了丈夫自杀的码头，见到了那个叫Veronica的女人，并冒充了一个身份Martina由此进入对方的生活……by:m.yakubd.cc

　　一群男女来到五百年前的城堡观光，接着三个人离奇失踪，剩下的人发现城堡的机关能通往一个迷宫密道，然后他们下去搜寻，却一个挨一个死去，而城堡的伯爵似乎有所秘密隐藏，于是他们开始互相猜忌，到底是狼人的诅咒还是人为。

　　在新朋友费利佩的帮助下，卡塔耶那尝试忘记前男友，但王子却再度 出现在她的生活中

　　The film which is based on the life on an Indian scientist Shivkar Bapuji Talpade, who is credited to have constructed India's first unmanned plane is the tale of the hardships that he went through on the journey to discover. Also the film is set in the pre-independence era of Bombay of 1895.

　　《迷宫》编导的最新力作。一个满月的静谧之夜，讲述费城四个不同世代的生命故事，交织着性的欢愉和绝望的空虚。布莱恩曾是才华洋溢、屡获殊荣的诗人，但面临江郎才尽的窘境；吉姆是英俊有抱负的演员，认为戏剧是他生活的一切；包柏是一位天才经纪人，但他始终无法忘怀过去；德鲁是个着名凋塑家，爱艺术更胜于爱他的情人。