After the death of her adopted parent's Lacy Graham tries to build a relationship with her natural mother Samantha, this is made difficult by Samantha's struggle with mental health. Just as they start to bond the unthinkable happens, Samantha is kidnapped, who can she trust, a strange ex copper, her weird friends or has a distant relative set his sights on revenge for her father's actions?

托比是个小男孩，妈妈去世后父亲忙于工作，无暇照顾他，不得已把他送回奶奶家暂住。托比的奶奶是个表面上严肃古板的老太太，整日忙于自己的社交生活。孤独的小托比在老房子里发现了一个魔法阁楼，里面发现了很多破旧的玩具。意外的，他在里面找到一只妈妈留给他的绒布小兔子，托比终于找到了一个小玩伴，并且全心全意的爱着这只小兔子，把对妈妈的思念都寄托在这只小兔子身上，无论到哪都带着它。托比终日在自己所想象的世界里和小兔子，天鹅和小马玩耍，直到托比感染了猩红热病毒，卧病在床。医生说他所有的玩具都要烧掉，小兔子面临被烧毁的命运。但爱让世界变得真实，由于小男孩对它的爱，它竟然变成了一只真的兔子，让那个家喻户晓的童话故事成真。

传说中，在一个青翠碧绿的山谷，复活节的兔子们便居住于此。他们一整年都在忙碌，齐心协力准备复活节的彩蛋。兔子们分工明确，一丝不苟，有的专门负责熬制巧克力，有的负责扣模，有的则为巧克力装点上色。他们中还有一些是出色雕塑家，经其之手，巧克力被雕成了活灵活现的兔子形状。另一边，母鸡军团也分外忙碌，她们生出的鸡蛋经特殊管道分发给上色的兔子们，这群小家伙心灵手巧，用彩虹滴下的色彩调浆，各呈其能，绘制出一枚枚好看的彩蛋。兔子王国的小家伙们通过辛苦的努力，为世界各地的小朋友送上最好的复活节礼物。 　　本片荣获1934年威尼斯电影节最佳动画片奖。

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

该影片主要讲述了一名乡村教师和一群学生的故事：都市女孩周婷婷放弃高薪工作来到半山村做老师，设计师男友于海洋一路相陪。在这里，他们与雨童羊蛋等一…

Band of Brothers - Individual Disc #6 "We Stand Alone Together: The Men of Easy Company & The Making of Band of Brothers" 　　Over a period of two years, Mark Cowen and his crew travelled to 30 U.S. and ten European cities, to interview the veterans of Easy Co. The stories, told by the veterans themselves, create a history of the Second World War from the point of view of this heroic company of men, made famous in the mini-series Band of Brothers.

东西两德合并后，东部瞬间没落。失去工作的青年也失去了生活的目标。随着外籍移民的不断涌入，矛盾日益扩大，仇恨在蔓延。九十年代初期，多个城市爆发了新纳粹主导的排外骚乱活动。本片的背景正是那个时候的罗斯托克。 　　这部近期的德语高分影片获今年的德国电影奖多项提名，并获得最佳男配角奖。

故事描述一位女子雅德蕾德威尔森和她的先生盖博，带着两个孩子一起到夏天度假住的海滨房子，打算度过一个恬静的夏天。　　但一段过去难以启口的伤痛却如鬼魅般出现在眼前，接二连三的怪异巧合也相继发生，对于家人即将遭遇不幸事件的强烈预感，让雅德蕾德恐惧到达临界点。　　当他们和朋友泰勒斯一家共度一个令人紧绷的海边聚会后，雅德蕾德和先生及孩子们回到度假小屋休息，却在进入黑夜的房子前，看见令人毛骨悚然的四个人影，正手牵手站立在他们的车道上…