美国惊悚悬疑片，一些令人不安的事件使得一位拍摄陌生人的艺术家怀疑有人在监视她，真实和虚幻、犯罪和艺术、监视者和被监视者的界限变得模糊……

乔（杰昆-菲尼克斯 饰演）是一名退伍军人兼前任联邦调查局特工，有创伤应激综合症和止痛药成瘾的问题，刚刚在辛辛那提完成了一份工作。他回到纽约，在从…

从海洋到陆地，地球的每个角落都充满垃圾。《它从未在此》是一部关于垃圾的电影，它展示了我们的家园深受垃圾的危害，这些垃圾随着人类足迹甚至去到了地球上最偏远的地方。

魔道至尊迟风眠遭到母亲和弟弟的背叛，重生在名门正派逍遥宗的病秧子身上，重生后的母亲苏荷为了保护苏眠，多次伏低做小的恳求自己的母亲，想要拿到能治好苏眠的血灵草，宗主却一直为难母亲，母亲为救女儿答应嫁给魔头

本剧改编自Claudia Lux的同名小说。 　　小说被描述为一部充满黑色幽默、扣人心弦的首作，聚焦一个在地狱（字面意义）工作的人。Peyote Trip在地狱第六层（on the fifth floor of Hell）的交易部有一份不错的工作。不过嘛，所有的笔都用不了，咖啡机已经坏了一个世纪，唯一提供的饮品是野格利口酒。但这依旧是地狱，在等待了一千年后，他想到了一个可能永远改变他的生活（和死亡）的计划。

这部电影讲述了一个生活在乡下天真的小伙子巴迪，刚刚来到曼哈顿便坠入爱河的故事！除去里面有一段互打飞机的场景，这应该算一部平淡温馨的电影了！ 　　http://www.kan84.net/bdhd/btFunDownThere1988.html

http://www.festival-cannes.com/en/festival/films/paul-est-la 　　Paul is there. Like a backtrack, like a ghost that rings at the door. Jeanne has to accommodate him, let him settle down a few days. He is there, but neither Jeanne nor he knows why.

本剧改编自Claudia Lux的同名小说。 小说被描述为一部充满黑色幽默、扣人心弦的首作，聚焦一个在地狱（字面意义）工作的人。Peyote Trip在地狱第六层（on the fifth floor of Hell）的交易部有一份不错的工作。不过嘛，所有的笔都用不了，咖啡机已经坏了一个世纪，唯一提供的饮品是野格利口酒。但这依旧是地狱，在等待了一千年后，他想到了一个可能永远改变他的生活（和死亡）的计划。

Wander is working as an engine operator on a cargo-ship. When he takes a coffee-break, a woman appears in a talkshow on TV. In an instant, Wander recognizes her to be his long lost girl-friend Zelda from childhood days some 20 years ago. In these days, Wander used to live in a boarding-school. From his room window, he can see the house on the opposite river bank where Zelda lives. She's a really adorable young beauty, but she's less affected than one should think, and so Wander gets his chance. They are having a good time until one day when Wander finds Zelda's father in the school kitchen making love to the kitchen maid. Things turn out bad for most of the characters involved, but there's an open end. - Claus Horn, IMDb

As a visibly disabled person, filmmaker Reid Davenport is often either the subject of an unwanted gaze — gawked at by strangers — or paradoxically rendered invisible, ignored or dismissed by society. The arrival of a circus tent just outside his apartment prompts him to consider the history and legacy of the freak show, in which individuals who were deemed atypical were put on display for the amusement and shock of a paying public. Contemplating how this relates to his own filmmaking practice, which explicitly foregrounds disability, Davenport sets out to make a film about how he sees the world from his wheelchair without having to be seen himself. 　　Informed by his position in space, lower to the ground, Davenport captures indelible images, often abstracted into shapes and patterns separate from their meaning. But the circus tent looms in the background, and reality regularly intrudes, from unsolicited offers of help to careless blocking of access ramps. Personal and unflinching, I Didn't See You There forces the viewer to confront the spectacle and invisibility of disability.