被吸引的女上司，吸吮的男员工
《被吸引的女上司，吸吮的男员工》线上看,由导演,黑泽奈智等演员领衔主演,影片主要讲述了Rachi，公司的资深老板。作为一名前辈，她经常责骂那些忽视工作的下属。但这种责骂实际上是她贪婪的性欲的一个出口。虽然她外表冷酷，但内心却很热，今天她的属下也是要死的,被吸引的女上司，吸吮的男员工"
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老公去哪了
黄俊鹏,黄小蕾,沈梦辰我为勾勾狂
坦纳·科恩,马修·坎普,拉蒙·奥尔默斯·托雷斯爱在疯人院
阿尔瓦罗·塞万提斯,苏珊娜·阿巴图纳·戈麦斯,路易斯·扎赫拉,阿以莎·比亚格兰,Txell Aixendri ,Nil Cardoner,埃杜阿多·安图纳,Paula Malia ,克拉拉·塞古拉,Maria Ribera,Francesc Ferrer,Aaron Porras,莫里亚·波塔斯,Eduard Gibert,Iris Vallés Torres,罗西奥·莱昂,Jordi Bosch,Laura Conejero,Ferran Rañé,克里斯蒂安·巴伦西亚,阿尔维托·圣胡安庞尼因·塞尔文：第一部分
维克拉姆,卡尔迪,杰亚姆·拉维,艾西瓦娅·雷,特丽莎·克里希南,索比塔·杜里帕拉,艾西瓦娅·莱克希米,贾亚拉姆,维克拉姆·帕布,阿什温·卡库马努,萨拉特·库马尔,帕提班·拉达克里希南,帕布,普拉卡什·拉贾,纳赛尔,莎拉·阿尔琼,维杰·耶苏达斯,巴布·安托尼,基肖尔·库马尔·G·,卡马尔·哈山征服者2
兰维尔·辛格,阿克夏耶·坎纳,桑杰·达特,阿俊·拉姆鲍,马达范,莎拉·阿尔琼,Rakesh Bedi,Danish Pandor,Saumya Tandon,高拉夫·杰拉,Manav Gohil,Naveen Kaushik,阿卡什·库拉纳,K Anshuman Thakur,Vikash Rai雾人前传
迈克尔·罗伯特·布兰登,迈克尔·穆内,迈克尔·穆内同类推荐
野兽之死
松田优作,小林麻美东京大学毕业的高材生伊达邦彦（松田优作 饰）曾是战地记者，短短几年间走过无数战场，拍摄了大量的照片。从报社退出后，伊达担当翻译为生。精神的空虚和早年在战场上受的创伤，让他无法忍受行尸走肉般的优渥生活，虽然期间邂逅同样喜欢古典音乐的OL华田令子（小林麻美 饰），伊达却始终无法打开心门。 筹划干出轰动事件的伊达先袭击了警察和黑帮，劫走手枪和三千万日元，之后与在同学会上结识的侍应生真田（鹿贺丈史 饰）结成二人组，图谋抢劫东洋银行的四亿日元巨款。而另一方面，独行警官柏木（室田日出男 饰）因射杀警察案件，将嫌疑犯锁定在伊达身上…… 改编自大藪春彦同名小说。
选老顶
黄秋生,杜汶泽,王宗尧香港2016 边个话事无悬念，但黑势力选话事人就峰迴路转死得人多。行古惑的大佬阿七（杜汶泽）带着六宝（姜皓文）同捞同煲打天下，食过皇家饭即遇上帮派选龙头，一轮腥风血雨，神爷（黄秋生）为首的四大叔父钦点阿七与豺狼（王宗尧）二选一，豺狼辣手又有撑腰，阿七眼看只是陪跑，振臂高呼无分大细一人一票。地下选战似要搞公投，候选人互揭黑材料，连警察亦归边，但阿爷永远可出横手，黄秋生不会白白一副抢镜教父look，好戏在后头。怎样叫合情合法，他讲的才算数。
芳草满天涯
斯琴高娃,郭凯敏,蒋冰,顾佳根据张玉滚老师真实故事改编
开心一组4
帕丽莱蒂·曹帕拉,阿贾耶·德乌干,杜沙·卡普尔,库纳尔·赫姆,施瑞亚斯·塔尔帕德,Ashwini Khalsekar,塔布,阿尔沙德·瓦尔西The gang encounters with some spiritual bodies and finds out the truth about the Jamnadas Orphanage where they were brought up.
从今天到明天
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.