年轻的寡妇
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志田未来,龙星凉,高橋洋,冈山一,岩橋道子,佐藤恒治,粟田丽,新木优子,萤雪次朗充满恩典
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罗伯托·贝尼尼,赫伯特·罗姆,克劳迪娅·卡汀娜寂寞的人
富田靖子,尾美利德,藤田弓子,小林稔侍,大山大介,砂川真吾,佐藤允,岸部一德,根岸季衣,峰岸彻,秋川リサ,树木希林,小林聡美,入江若叶,浦辺粂子父子神探之玫瑰园疑云
马跃,李子雄震耳欲聋
檀健次,兰西雅,王戈,王砚辉,迟蓬,潘斌龙,李菁菁,宁桓宇,周政杰人气佳作
导演精选
死亡笔记美版
梁倩（曹斐然 饰）自小就失去了父母，孤苦伶仃的生活在孤儿院中。奶奶的出现给梁倩灰暗的生活带来了新的希望，奶奶将梁倩带回家，精心照料，渐渐的，梁倩从曾经那个灰头土脸的小姑娘，出落成了亭亭玉立的美人。 虽然拥有温婉美丽的外表，但梁倩的个性却格外的叛逆，干了许多莽撞而疯狂的事情。奶奶因为无法接受梁倩未婚先孕的事实，突发脑溢血去世了，追悔莫及的梁倩在奶奶的遗物中发现了一本神秘的笔记本，其中记载了自己的前世今生。梁倩决定守着奶奶留下的大房子，生下腹中的孩子，然而，一个陌生女租客的到来却令梁倩的生活再度陷入到了疯狂的危险和阴谋之中。
只有野兽
法国某个偏远小镇，此时正是隆冬时节，大雪纷飞。恶劣的天气里，保险推销员爱丽丝（劳尔·卡拉米 Laure Calamy 饰）依然不辞辛苦驱车来到客户约瑟（达米安·勃纳尔 Damien Bonnard 饰）的山中小屋，只不过驱动她的似乎是对这段不伦之恋的痴迷与躁动。当爱丽丝返回时，路边一辆无主之车短暂引起了她的注意。谁知时候从电视得知，车主属于一个名叫伊芙琳（瓦莱丽亚·布鲁尼·泰德斯基 Valeria Bruni Tedeschi 饰）的女人，而她此时已下落不明。爱丽丝的丈夫米歇尔（德尼·梅诺谢 Denis Ménochet 饰）沉默寡言，却早已看穿妻子的伪装。 被丈夫戳穿伪装后，爱丽丝次日连忙跑进山里，希望暂时和约瑟断了关系。而在她眼前的是被杀掉的狗，以及出离愤怒的约瑟……
嗨，妈妈！
In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment