电影讲述了二战时New Mexico州一个名叫Antonio的男孩成长中的经历。故事开始于Ultima的到来。Ultima是一个年迈的，善良又神秘的curandera，她来到Antoni…

Adapted from the cult novel by Ahmadou Kourouma.

真人真事改编，描述在加拿大美丽的大西洋省份新斯科舍省（Nova Scotia），一位患有关节炎的民间艺术家莫娣·刘易斯(Maud Lewis)，对艺术不懈的追求，与她的丈夫相识，并以艺术、贩卖作品为生的励志生活。

卧底警察维剑为躲避毒贩追杀，偶然坐上陌生人的车。明明他与司机素未谋面，但这个叫做老臧的男人似乎对他的人生了如指掌······

The true story of a French teenager rising out of the underprivileged suburbs through love, education and rap music. Regis is a culturally gifted boy who dreams of success for his rap band, but he must accept drug money for the sake of his project. Discovering Islam and love, he bears with the harsh loss and paybacks of delinquency, until he finds the strength to express himself through music and slam-poetry — and ultimately becomes a major artist of the French music scene.

一位无所事事的的中年男人坐在在家里看电视，真人秀里面的年轻女孩总是贪得无厌，想要得到全世界。中年男人看着这样的青春期女孩感到忍无可忍，开车400米枪杀了无辜的邻家女孩...这个女孩的同学见到恐怖一幕并没有看到害怕，反而觉得这个男人太酷了！两人一拍即合，结伴去大街上继续他们的杀人游戏。

《龙王保佑》讲述的是具有可以读到世间万物数千种颜色的绝对视角的女子沈清（李素妍饰演），和世界里只有黑白两种颜色的钢琴演奏家马风道（音译）（在熙…

12只可以自由变换形状的谜之生物“奇米莫”，和来自地狱的使者——地狱先生一同出现在人类世界，他们的目的，竟是将人类世界变成“地狱”？！ 为了实现计划，他们住进了人类三姐妹——鬼神元月、八月、五月的家。 团子般圆滚滚的奇米莫，看似可怕实际是个憨憨的地狱先生，以及个性强烈的三姐妹间的搞笑温馨日常就此展开！人类世界地狱化计划究竟会如何发展呢？

No music reviewer would make a career writing about pianists solely from repeated performances of a single concerto, nor any pianist out of playing just the one piece. Yet sometimes writing about stand-up comedians can feel worryingly like this. They all hit more or less the same notes: London... young people... children and parenthood... today's dreadful music... religion... growing up in Ireland (obviously not every comic includes this movement, though sometimes it feels like it)... finishing off with differences between men and women, usually with reference to naughty bits and/or naughty business. The difference lies in the phrasing, the flourishes, the individual expression brought to the work by the performer. 　　Dylan Moran, appearing for seven nights at the West End's Palace Theatre while it spends the summer between blockbuster musicals, plays the standard concerto. It's in the phrasing that his skill resides. His slurred, bellowing delivery and shambling, half-cut persona (although in almost two hours he put away perhaps a third of a glass of white wine) are no longer as novel as they once were, but they belie a greater than average discipline in his material. 　　Moran certainly has a gift for the surreal image and the unexpected adjective, but his spontaneous flights of fancy are brief and a little diffident. He prefers to hone his phrases and seems to script them quite tightly; like a snooker player, he can control exactly the angle at which the ball will come off the back cushion. At times he simply sounds like an early-middle-aged grouch, berating young people for "texting each other because they've given up on speech", but when he stretches out and lets fly with his magnificent vocabulary, he's in a different league. He can use a near-nonsense word like "quadrangulate" meaningfully, or wonder about Ann Widdecombe's voice, "How do you get that many fingernails on one blackboard?" Sometimes the word-images work through bizarreness, sometimes they're simply there to add colour or emphasis in unexpected ways: a granny mentioned in passing is so much less prosaic when she's an emphysemic granny. And the mere phrase "fellating a Smurf" is as euphonious as the image it evokes is disconcerting. 　　Moran's growing film and TV career are vying with his live work for supremacy now, and indeed he's slightly less appealing a performer on stage than one might expect. But the words, oh, the words...! 　　Written for the Financial Times.