为了纪念美国电影工业的第一个世纪，「美国电影协会」开创了一个美国电影史上的最具意义的电影的庆祝——"美国电影百年史、100部经典电影"。 　　分类成10个主题，以电影回顾的手法，探索人类在堕落最深处的人性；恐惧和社会底层的犯罪到高尚的英雄主义和热情的浪漫主义，包括很多类型，构成光荣的美国电影史前100年的电影的风格和类型，透过好莱坞的顶尖导演、作家、演员和执行拍片者选择的那样。

这是一部时代剧，讲述了 20 世纪 80 年代，公交车导游们在公交车上引导乘客的过程中，发生的友情和爱情故事。

讲述20世纪80年代在公交车上引导乘客的公交车导游们的友情和爱情故事的时代剧。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

聚焦于《空战群英》中几个人物和现实飞行员的真实故事。从珍珠港事件的震惊到欧洲胜利日的喜悦，《血腥百人》记录了一群年轻的美国人民在国家和世界最需要他们的时候所经历的一切和取得的成就。

文涛向秦峰道歉，称无法履约并愿还钱。秦峰不在意，让艾利接替顾悦，还送别墅怂恿二人。艾利突然持刀刺文涛，被其挣脱。秦峰现身，坦言自己需换肾，文涛肾源匹配，此前皆为夺肾设计，顾悦是被栽赃。警察与顾悦赶到，顾悦拿出文涛的录音笔揭穿阴谋，秦峰、艾利被捕。顾悦告知文涛，秦峰是养父养子，恩将仇报夺家产，害她父亲。文涛庆幸信她，顾悦（本名曼歌）提议在一起，文涛答应。两人牵手时顾悦恶心似怀孕，文涛接电话得知母亲康复，见面后母亲猜顾悦怀孕，三人欢喜。文涛承诺对顾悦好，两人相拥，期待新生活。