In an attic full of discarded junk, a pretty doll called Buttercup lives in an old trunk together with her friends, the marionette Sir Handsome, the lovable Teddy Bear, a Mechanical Mouse and the plasticine creature, Laurent. When Buttercup is snatched and taken off to the Land of Evil, her pals set out on a wondrous and daring adventure to rescue her from the all-powerful Head of State.

《楼上有宝》是TVB的一档综艺节目，于2012年6月6日在翡翠台首播，每周三晚上七点至七点半播出，由杨爱瑾、黎国辉以及苏颂辉主持。 该节目聚焦香港的一间间“楼上铺”。这些“楼上铺”主题丰富多样，从大众主流喜好到小众另类选择，各具特色，共同构成了独特的“楼上铺文化”。 在节目中，主持人及一众“识途老马”嘉宾会开启“上楼寻宝”之旅，挖掘其中蕴含的各种人情故事。漫步街头，顺着街角的楼梯拾级而上，往往会发现别有一番天地。这里有满是书香的书店、节奏强烈的舞室、满载童年回忆的玩具店、咖啡飘香的特色Cafe、能捕捉笑容、留存美好瞬间的影楼、洋溢着家的风味的住家菜馆、充满生机的宠物店等等。 这些楼上铺的小老板们，有的以发财为首要目标，有的则坚守理想；有的可能看似哗众取宠，有的却别具一格，他们的信念都能给人带来启示。

Enriched by cinematography as remarkable as the filmmaker's work on Zaynê Akyol's Rojek, this documentary by director Arshia Shakiba situates viewers amid the oil refineries in Syria's war-ravaged north, a landscape that may seem post-apocalyptic but lives in our ever-more alarming present.

Fact-based drama, set in 1910 Milwaukee, about an older married woman, bored with her husband, and her dead son's friend she takes as a lover and hides in her attic over the next two decades -- an affair that ends in murder.

伦敦1888年，在开膛手杰克的第三个受害者被杀的当晚，说话温柔的斯莱德先生，研究病理学家，在哈利一家租了房子 ，包括了一幅阴暗的阁楼作为实验之用。 哈利夫人认为斯莱德很怪并且越发得怀疑他而她的侄女莉莉却觉得他很有趣而且越来越有魅力。是莉莉处在危险中了，又或是她母亲的怀疑仅仅是“无理取闹”？

上海美影厂

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. SHIMON@lounge.moviecodec.com

一名年轻女子在回家途中遭绑架，并被锁在绑匪家的阁楼里。一年后，在绑匪坐轮椅的母亲的帮助下，她制定了逃跑计划。

该剧是一部穿越题材的爱情喜剧，讲述了朝鲜时代痛失世子妃的王子，跨越了300多年来到21世纪的现代后，邂逅与世子妃长相相似的一个女生后展开爱情攻势的故事。剧集由申尹燮导演执导拍摄，朴有天、韩智敏等人主演。爱情也有有效期吗？这个问题，毫不迟疑的都答“YES”。这个时代的男女都会这样回答，正如你所说“爱情的有效期”值多少钱？在问爱情怎么计算之前想一想，决定有效期时，你已经开始计算爱情了。所以，这部电视剧，给我们看，随著时间永远的流逝，爱情也是不变的。现代那些认为很酷的男女们，比起心脏，头脑最先反应的爱情终究是不会冷却的。王世子李恪，对于世子来说，世子嫔既是伙伴也是政治上的同伴，还是在这深宫冷墙内无法摆脱自由的朋友。抢了妹妹位置成为成为世子嫔的女人华容。认为这不是抢而是拿到了本该属于自己的东西而已。深爱王世子的女人芙蓉，那个人女人的眼神虽然透漏恋慕之情，却说服自己那是对他的恋君之情。朝鲜的王世子，姐姐的男人... 爱一个不能爱的人，该怎么对待悲伤的爱呢？今天的我们是否能轻易做出选择？王世子和这两姐妹之间错综复杂的爱情，并且这种爱情在300年后也没能结束，残酷的命运让他们再次相遇。21世纪的大韩民国，在这骑著白马的王世子和开著一吨卡车女人相撞。他们之间的爱情是否也能相撞呢？穿越时间的宫廷罗曼史拉开了序幕...