『我活到一大把年紀，至今仍不懂女人，老是把婚姻搞砸，害慘兩個女人，我不想再害第三個！』 　　兩次失敗的婚姻，俊男（蔡振南 飾）分別和兩個前妻生下女兒千繪（洪瑞襄 飾）和千穎（紀君穎 飾）。年近退休的俊男獨居，過得自由卻寂寞。原以為這把年紀再也和女人無緣，沒想到因女兒千繪的婚禮，和前妻們又有了交集。 　　「主桌媽媽的大位誰來坐？」當千繪未來的公公東山（馬如龍 飾）怒沖沖要求俊男要想辦法找到一個『媽媽』，一個失聯多年，另一個恨他，俊男要怎麼解決大位問題？ 　　『自己生的女兒我怎麼會不記得，幫我包個紅包給千繪，恭喜她。』 　　風韻猶存的金枝（仇政 飾）一生勇於追求任何自己想要的，即使是離婚。雖然身為千繪生母，她一點也不覺得自己需要參加二十幾年未見的女兒的婚禮，「過去都過去了，還是不要去打擾彼此的生活。」 　　『名不正，言不順，我既不是千繪的親生媽，又已經和千繪的爸離婚了。』 　　秀寬（宋宜芳 飾）雖然一向關心從小就沒有媽媽照顧的千繪，然而面對坐大位的請求，她卻拒絕了，「我們那個年代可不比現在，當年一個女人離婚，還拖著孩子，妳知道別人是怎麼說我的嗎？妳知道我是怎麼熬過來的嗎？」秀寬這輩子都不想再見到俊男！ 　　「我們的婚事以後再說吧，這樣你爸也不用怕丟臉了……」 　　對婚禮主角千繪來說，兩個媽媽卻不代表擁有兩倍的愛，而是超過兩倍的痛苦。隨著年齡增長，千繪本以為父母離異的陰影早已遠去，卻沒想自己要結婚的時候，夢魘又出現！ 　　大位問題都還沒解決，叱剎商場的東山竟先把婚宴會場給訂好……原本兩個媽媽都不願出席，命運卻宛如惡作劇，莫名其妙變成兩個媽媽搶坐大位……這個婚究竟還結不結？ 　　早已形同陌路的幾個中年男女，為了一場婚事，卻發現不能面對的事情，也不是時間可以弭平。他們究竟該如何面對過去？如何面對繼續的人生？……嬉鬧中夾雜著悲涼的啼音，低唱一曲失婚的黃昏……

USA:90 min 　　Suicide Girls创立于2001年，创始人名叫Missy Suicide。她对pin-up照片（钉在墙上作为装饰的照片）疯狂着迷，于是和男友Sean开办了网站。最初旨在拍摄她所认识的女孩们，后来以波兰为发韧，许多特立独行、朋克放克气息浓郁的女孩都云集于此。 　　她们的共同特点是：展现自己由纹身、铁环、穿刺装点起来的胴体，继而张显自己的个性。网站创立之初，由于提供大量免费视频下载，点击率飙升。而它介乎色 情和艺术之间的立场又引发了网络上下的巨大争论。 　　Suicide Girls里面的女孩以颜色来形容的话，只能是色彩斑斓，且无法复制。她们大多是身材苗条的白人女孩，这也是Suicide Girls的特点之一。Suicide Girls完全不顾及评论界的陈词滥调，依然故我，虽然并不打算取悦大众，但是仍然有成千上万的人为这些女孩着迷。 　　另一个特点是，在这里所有的女孩都留下自己真正的姓名，所有人都可以自由发表评论。Suicide Girls从最初一个小型的怪异网站，逐渐发展成为混合诸多流行元素的小社会。除了提供不下10万张的照片，人们还能通过视频、电邮、博客等途径了解这些女孩，还能在上面创建自己的空间去结识更多朋友。某种程度上，Suicide Girls已经成为生活的跳板。

洪荒时期，黄帝、炎帝、蚩尤三大部落争取天下。炎帝部落老首领之子炽因不满父亲将首领之位传于身世不明的炎而发动叛乱。炎帝平息了叛乱后，炽下落不明。…

One hot afternoon in nowhere, there is one solitary and empty road. A police is spying on a girl who owns a small store on this lonely road. He looks for any clues on her like a hound in nature. however, he is not the only hunter on this road.

由拥有数百年历史的Org Ninja Dokusai领导的巫师氏族已经采取行动，取回Yamaji家族世代相传的珍贵的Pako地图。Togakure Ryu Ninpo的第34任大师Tetsuzan Yamaji委托他的儿子和女儿Toha和Mei保护Pako免受魔法师氏族的伤害。通过穿上从他父亲那里继承的Jiraiya套装，Toha成为Togakure学校的大师Jiraya，他必须面对邪恶的巫师氏族，以及来自世界各地的许多忍者。

Synopsis: 　　A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess. The rigors of the harsh desert landscape in summer test the prisoners' endurance, unlike Princess Ulan and her tribe, who are united with the physical environment by tradition and necessity. 　　Ottinger about her Film: 　　This is a film about different kinds of narration. In my films, there is never a singular plot. Nevertheless there is a story. The first part of the film is a trip through history on the Trans-Siberian Railroad, a grand old train on which people traveled from East to West and West to East for over a hundred years. I was fascinated by the story of this train. I found it a wonderful place to bring together people of all types. I focused here on four very different female characters who represent stories from different epochs. There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century. She is what was called a "private scientist," a rich person devoted to a singular obsession of study, as in old English novels. Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire, to study the culture of Mongolian nomads. She is seen traveling in a salon wagon, her own sumptuous private train car. This signifies that she is from the time when the diplomatic corps, princes, and kings traveled on the Trans-Siberian Railroad as in a luxurious hotel. Then there is a beautiful young girl, Giovanni (later called Johanna), who is from our contemporary times today. She is an adventurer, traveling with a knapsack and a Walkman. At first she is in the third class carriage with soldiers and peasants who travel with their animals. Then she is invited to join Lady Windmere at her dinner table and in her private car. There is a German professor, Frau Muller-Vohwinkel, who travels with a Baedeker, the famous travel guide that she reads carefully, so that everything she sees has already been interpreted. And there is Fanny Ziegfield, a musical star from the nineteen thirties or forties of the great music halls. They are all on the train traveling in a linear path from West to East. Most of the travelers plan to go through Mongolia on the way to other destinations. Only Lady Windemere intends to remain in Mongolia, to continue her enthnographic studies. In addition to these characters, there is also a three woman entertainment troupe, the Kalinka Sisters. They are like a traveling Yiddish version of the Andrew Sisters. There is also a male character, Mickey Katz, who is a Yiddish tenor enroute to Harbin, China to meet up with its large Jewish community. While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New York's old Second Avenue. 　　The film is divided into three sections. In the first and last parts of the film, the action is on the train. These scenes were all shot in meticulously constructed sets made in the studio, even the glimpses of the passing outside landscape, as seen through the windows. I wanted the audience to truly see the artificiality of that construction. So, you catch a glimpse of a rip in the back wall of Lady Windemere's private car. But the rip is really a trompe l'oeil painting made by theatrical set painters. It signals this as an intentionally highly artificial presentation of the Western world. 　　In contrast, the central section of the film, when the train reaches Mongolia, was all shot on site, in the natural landscape. Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen, led by Princess Ulun Iga, who take them from the train to their seasonal encampment. Everything changes. In this nomadic landscape there is no linear path to follow. This goes also for the dramaturgy. The slow epic time of the Mongolians begins, with fairy tales, rhapsodic narration, and wonderful epopees--the old traditional songs in which they tell their whole history. It is an old dramaturgy as in Shakespeare--very simple, a skeleton that you fill with anything you wish. Like an epic, this is a space for the actualities, daily life, religious rituals, and so on of this largely female nomadic Mongol community. As relationships develop, we see various cultural confrontations between nomadic and settled cultures, between fiction and documentary, between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue. 　　When I begin a new film, the inspiration, content, and style of the film comes from the place in which I start. Here it is Mongolia. I always like to change the point of view, to go around a theme looking at it from various perspectives and different points of view. This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment. Of course, I am not interested in this. Johanne d' Arc is an amusing film. But it is amusing on another level. It is a film about cultural misunderstandings, which can be quite funny. I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting. It is important for me to talk about that. 　　The Critics: 　　"The whole film is a twin structure, cut through by doubles, repetitions, similarities and endless reflections. The images have a crease, established by the stories [...] In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths." -- Frieda Grafe, Suddeutsche Zeitung, April, 3rd,1989 　　"JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other. The theme of the wanderer/outsider, carrier of diverse ideas, runs through all of Ulrike Ottinger's strikingly original films." -- Judy Stone, San Francisco Chronicle

Synopsis: 　　A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess. The rigors of the harsh desert landscape in summer test the prisoners' endurance, unlike Princess Ulan and her tribe, who are united with the physical environment by tradition and necessity. 　　Ottinger about her Film: 　　This is a film about different kinds of narration. In my films, there is never a singular plot. Nevertheless there is a story. The first part of the film is a trip through history on the Trans-Siberian Railroad, a grand old train on which people traveled from East to West and West to East for over a hundred years. I was fascinated by the story of this train. I found it a wonderful place to bring together people of all types. I focused here on four very different female characters who represent stories from different epochs. There is the elegant Lady Windermere who is an amateur ethnologist from late nineteenth century. She is what was called a "private scientist," a rich person devoted to a singular obsession of study, as in old English novels. Lady Windermere was inspired by the Victorian trends of this time and highly influenced by all the experiences in the colonies of the British Empire, to study the culture of Mongolian nomads. She is seen traveling in a salon wagon, her own sumptuous private train car. This signifies that she is from the time when the diplomatic corps, princes, and kings traveled on the Trans-Siberian Railroad as in a luxurious hotel. Then there is a beautiful young girl, Giovanni (later called Johanna), who is from our contemporary times today. She is an adventurer, traveling with a knapsack and a Walkman. At first she is in the third class carriage with soldiers and peasants who travel with their animals. Then she is invited to join Lady Windmere at her dinner table and in her private car. There is a German professor, Frau Muller-Vohwinkel, who travels with a Baedeker, the famous travel guide that she reads carefully, so that everything she sees has already been interpreted. And there is Fanny Ziegfield, a musical star from the nineteen thirties or forties of the great music halls. They are all on the train traveling in a linear path from West to East. Most of the travelers plan to go through Mongolia on the way to other destinations. Only Lady Windemere intends to remain in Mongolia, to continue her enthnographic studies. In addition to these characters, there is also a three woman entertainment troupe, the Kalinka Sisters. They are like a traveling Yiddish version of the Andrew Sisters. There is also a male character, Mickey Katz, who is a Yiddish tenor enroute to Harbin, China to meet up with its large Jewish community. While on the train he joins the other singers in presenting wonderful songs from music halls of the thirties and forties like those from New York's old Second Avenue. 　　The film is divided into three sections. In the first and last parts of the film, the action is on the train. These scenes were all shot in meticulously constructed sets made in the studio, even the glimpses of the passing outside landscape, as seen through the windows. I wanted the audience to truly see the artificiality of that construction. So, you catch a glimpse of a rip in the back wall of Lady Windemere's private car. But the rip is really a trompe l'oeil painting made by theatrical set painters. It signals this as an intentionally highly artificial presentation of the Western world. 　　In contrast, the central section of the film, when the train reaches Mongolia, was all shot on site, in the natural landscape. Here the train is stopped and the women travelers are kidnapped by a band of Mongolian tribeswomen, led by Princess Ulun Iga, who take them from the train to their seasonal encampment. Everything changes. In this nomadic landscape there is no linear path to follow. This goes also for the dramaturgy. The slow epic time of the Mongolians begins, with fairy tales, rhapsodic narration, and wonderful epopees--the old traditional songs in which they tell their whole history. It is an old dramaturgy as in Shakespeare--very simple, a skeleton that you fill with anything you wish. Like an epic, this is a space for the actualities, daily life, religious rituals, and so on of this largely female nomadic Mongol community. As relationships develop, we see various cultural confrontations between nomadic and settled cultures, between fiction and documentary, between the period costumes of the Europeans and the lavish traditional dress of the Princess and her retinue. 　　When I begin a new film, the inspiration, content, and style of the film comes from the place in which I start. Here it is Mongolia. I always like to change the point of view, to go around a theme looking at it from various perspectives and different points of view. This makes things more complex and a bit more difficult in a world where cinema is expected to be simply entertainment. Of course, I am not interested in this. Johanne d' Arc is an amusing film. But it is amusing on another level. It is a film about cultural misunderstandings, which can be quite funny. I have traveled a lot in other countries and learned a great deal about misunderstandings that I found highly interesting. It is important for me to talk about that. 　　The Critics: 　　"The whole film is a twin structure, cut through by doubles, repetitions, similarities and endless reflections. The images have a crease, established by the stories [...] In this way the Mongolian world casts a reflecting light on western customs and habits and cinema recommends itself as the instrument of investigation and the agent of old and new myths." -- Frieda Grafe, Suddeutsche Zeitung, April, 3rd,1989 　　"JOHANNA represents the fanciful attempt of a unique German filmmaker to explore the way extremely different cultures migrate and influence each other. The theme of the wanderer/outsider, carrier of diverse ideas, runs through all of Ulrike Ottinger's strikingly original films." -- Judy Stone, San Francisco Chronicle

在擁護西方價值的極權政黨「OVO」上台後，因身為同性戀而受到生命威脅的樓宏，計畫與自己深愛的阿拉伯裔男友亞尼斯逃離祖國，他發現走投無路的移民鄰居自殺身亡、憶及與好友們爭論各自的政治觀點，甚至只能眼睜睜看著亞尼斯遭到殘酷殺害，一夕之間同時失去國家與摯愛的他，如同行屍走肉般遊走在歡慶政權交替的街頭上......