1974年9月25日，鉴于意大利银行面临巨额的经营性资产亏损而濒临破产的境况，银行集团领导决定终止银行董事会的一切权利，成立资产清理委员会，对意大利金融巨头辛那多任董事长期间的所有业务进行全面的资产清理。银行行长把这一艰巨、危险而事关国家和众多投资者利益的大事交给从事律师事务的乔治先生。 　　因为意大利银行的特殊金融地位，濒临破产的银行在社会上引起了巨大的反响，而乔治着手调查清理后，同样面临着来自各方的压力。值得庆幸的是，在一次清查私藏着银行大量委托清单的密室时，乔治改变了对随后介入进来的财政警察诺恩比利上士的看法，继而两人携手并进，很快查出了银行资产亏损的原因和原董事长辛那多违规运作巨额资产的犯罪事实。 　　随着调查的进一步深入、各种不利于辛那多的犯罪证据越来越确凿。而和意大利政府上层人物有着千丝万缕联系的辛那多也加紧了对乔治的威胁和迫害，加上意大利政府对引渡远在纽约的辛那多没有丝毫的兴趣，乔治的调查工作显得格外艰难。就在最后一次诉之法庭，并决定签下自己名字的前一天晚上，乔治深夜回家的在门口被辛那多雇佣的杀手杀害。一个危及整个国家利益的金融巨案就这样随着乔治--一个资产阶级英雄的倒下而告一段落。 　　精彩视点： 　　影片用大量的专业镜头，近距离的把金融领域里的腐败犯罪行为呈现在观众眼前的同时，也着意刻画了一个无畏英雄抗争社会的无奈与艰辛。

空旷的剧场内，正在进行演员遴选面试。心不在焉的制作人皮特（罗杰·里斯 饰）坐在观众席自顾自看着手中的商业杂志，对台上演员的表演丝毫不关心。 　　沉默的莎士比亚（巴瑞·普维斯 饰）走上台，他表演了一段别开生面且精彩非常的独角戏。莎士比亚与一个人偶展开配合，将其诸多作品中最精彩的段落一一呈现，作品涵盖《罗密欧与朱丽叶》、《理查三世》、《皆大欢喜》、《哈姆雷特》、《安东尼和克利奥帕特拉》、《泰特斯•安特洛尼克斯》、《奥赛罗》、《温莎公爵的婚礼》、《暴风雨》、《冬天的故事》等。 　　文学大师的表演能否打动制作人的心呢？

奖项：入围2016多伦多国际电影节短片单元（2016 TIFF Short Cuts Programme）

奖项：入围2016多伦多国际电影节短片单元（2016 TIFF Short Cuts Programme）

Set against the backdrop of four coming of age movies from the 2000s, Ariana Grande pays tribute to her failed relationships and reflects on how they helped her grow as a person.

Set against the backdrop of four coming of age movies from the 2000s, Ariana Grande pays tribute to her failed relationships and reflects on how they helped her grow as a person.

直面社会议题，见证女性力量。 李玉导演全新现实题材佳作，张子枫、张伟丽、李心洁、姚晨共渡人生台风。台风刚过的海岛之上，一只眼受伤的城市女生林沫沫（张子枫 饰），与岛上土生土长的失语女孩阿汐（张伟丽 饰）猝然相遇。当无情的风暴逐渐撕开两人隐秘哀伤的过往，两个看似另类但炽热的青春，相互慰藉，彼此支撑，用友情的力量对抗人生的台风。 随着青蚵嫂（李心洁 饰）临终透露的惊天秘密和陈淑楠（姚晨 饰）的突然闯入，席卷沫沫与阿汐的下一个台风突如其来，风眼之下，望风而逃还是迎风而上？她们必须做出抉择。

When a research scientist makes national news proving she can track people into the afterlife, Rose sees a way out and Teddy sees his chance to finally make it. These two strangers, both harboring dark secrets, race to join the doctor's contentious study and leave this life behind. While Rose is haunted by a ghostly presence that she can't outrun, Teddy is forced to confront his past. As these two misfits humorously quarrel their way across the country, they meet people along the way who force them to reckon with what is really driving them.

《下一个秋天》是西班牙导演Antonio Eceiza的代表作之一，也是Víctor Erice早年参与编剧的电影。Eceiza是60年代新西班牙电影运动中巴斯克地区的重要导演，他的一生都在为巴斯克电影的成长和发展做着努力。这部影片属于典型的新写实主义风格，影片由著名制片家Elías Querejeta监制，摄影是Luis Cuadrado，他后来是Erice的《蜂房的精神》的摄影师。 　　Director, screenwriter, and producer Antonio Eceiza has spent the latter part of his career working in and promoting the growth of Basque cinema. After Eceiza obtained a law degree from the Universidad de Valldolid, he studied film direction at the Instituto de Investigaciones y Experiencias Cinematográficas in the late '50s, though he never graduated. Eceiza worked as a film critic and an assistant director before teaming up with influential producer Elías Querejeta to produce a pair of short documentaries in the early '60s. Thereafter, Querejeta produced all of Eceiza's early films. Due to his radical political associations, Eceiza moved to Mexico in 1973, where he made two films and lectured at Mexico's Centro Universitario de Estudios Cinematográficos. In 1978, he returned to Spain to work in Basque cinema. Eceiza has subsequently used the Basque spelling of his name in the film credits, Antxon Exeiza. 　　Long regarded as central to the development of art cinema in Spain, the Nuevo Cine Espanol/New Spanish Cinema movement of the 1960s is currently being reconsidered in the light of recent scholarship. These interviews contribute to this reassessment by bringing to our attention the experiences of two directors who were peripheral to the movement as a whole. Antxón Eceiza, author of the Neorealist El próximo otono/Next Autumn (1963) and formally eclectic De cuerpo presente/Present in Body (1965), reveals these anti-Francoist directors' contradictory experiences of accepting subsidies from the state and representing Spain at foreign film festivals.