琳达-拉芙蕾斯（阿曼达-塞弗里德 饰演）原本是纽约伯尔曼家的一名平凡女孩，成长于不幸的工人阶级环境中。她的母亲多萝西（莎朗-斯通 饰演）脾气暴躁，父…

台灣首部青少年毒品犯罪刑偵影集，揭露「癮」隱作痛的人生，深入人性不同層面。

大学教授学奎（郑雨盛 饰）因为一场性丑闻而失去了一切，被贬值到十分偏远的小镇任职。在那里，学奎遇见了美丽的少女德伊（李絮 饰），两人坠入爱河。然而，不久之后，学奎官复原职，即将回到大都市首尔，为了自己的前途，学奎残忍的抛弃了德伊。 　　一晃眼八年过去，此时的学奎已经成为了小有名气的作家，事业走上的巅峰，前途一片光明。可是，就在这个节骨眼上，他却患上了不治的眼疾，视力一天一天的退化下去。某日，学奎的隔壁搬来了一位名为世静的女子，世静待学奎十分亲切，在生活中对他无微不至。随着时间的推移，学奎觉得自己已经离不开世静了。然而，目不能视的学奎并不知道，世静的真正身份，正是曾被自己抛弃的德伊。

感恩节，一位年轻女子(Laurenzo饰)带着一个重磅消息回家了。但她不知道的是，她那个大家庭里的怪咖家人们也各自准备了自己的“惊喜”，甚至让她找不到合适时机来放下这枚“蕾丝炸弹“（lez bomb）。在本届由Geena Davis参与创办的本顿维尔(Bentonville)电影节中，《蕾丝炸弹》(Lez Bomb)的导演Jenna Laurenzo将最佳叙事电影评委会奖收入囊中

这是众人期盼已久的完美假期。在飞往月球的豪华飞船圣芙蕾雅号上，尽情享受这难得的放松旅途——本该如此。 神秘的黑影，突然的失重，消失的物品，全是漏洞的不在场证明……犯人，难道就在我们之中？

影片讲述葛蕾丝·华特斯经历前夫出轨的情伤后，终于靠着新恋情重新站起。谁知美好表象下藏有无数秘密，葛蕾丝在发现真相之后，身心受创的她开始反击。

Detective Michael Tabb knows the city of St. Louis inside and out. He has felt its true heart, as much as its dark underbelly: but he does not know who, in both the dark and light - is taking the lives of young girls. He only knows that their burned and broken bodies are washing ashore along the Mississippi River, never to return home. He wears the scars of the one time he got close. Now, he's living in the darkness himself, perhaps too deeply. His physical pain is matched only by the pain he feels each time another young girl goes missing or washes ashore. Self-medicating to both ward away and embrace this killer, he falls farther from his light. Truth be told, the closer he comes to death by his own hand, the closer he gets to solving the murders.

格蕾丝-特里（阿曼达-米夏卡 饰演）刚满18岁，在父亲约翰尼（詹姆斯-丹顿 饰演）主唱的乐队里担任歌手。约翰尼一度是颇为成功的流行歌手，当他成为基督徒…

This electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones contrasts musical sequences with intimate personal footage, all the while brimming with Jones’s bold aesthetic. A larger-than-life entertainer, an androgynous glam-pop diva, an unpredictable media presence – Grace Jones is all these things and more. Sophie Fiennes’s documentary goes beyond the traditional music biography, offering a portrait as stylish and unconventional as its subject. Taking us home with her to Jamaica, into the studio with long-time collaborators Sly & Robbie, and backstage at gigs around the world, the film reveals Jones as lover, daughter, mother, and businesswoman. But the stage is the fixed point to which the film returns, with eye-popping performances of "Slave to the Rhythm," “Pull Up to the Bumper,” "Love is the Drug," and more. Jones herself has said watching the film “will be like seeing me almost naked” and, indeed, Fiennes’s treatment is every bit as definition-defying as its subject, untamed by either age or life itself.