希米兰是个绝色的少妇，与老公萨德及儿子一起住在曼谷。这出婚姻对于她来讲，是万分的不得已。老公其实是她的姐夫，因为姐姐的意外身亡，按照印度的惯例，她不得不嫁给姐夫做为赔偿……萨德是个工作狂，一心扑在事业上，而忽略了妙龄妻子的生理和情感的需要……而这也使得个性奔放的她倍感压抑和饥渴…… 　　一个夏日的雨夜里，空旷的林荫避雨处，她与性感粗犷的桑尼不期而遇……他与她在大学里就是一对激情恋人，因同居违反禁忌使得桑尼入狱，从此天各一方……没想到却是在曼谷的热雨中再次重逢；二人久违的激情在雨中爆发倾泻……从此后两人关系如胶似漆…… 　　细心的丈夫终于察觉到了妻子的异样，他雇佣了私家侦探来调查……偷情事件被暴露了，气急败坏的丈夫带着枪闯了进来……真情与欲望、情人与爱人，生离或是死别，即将一一分晓…… 　　【看点】： 　　1、全面突破禁忌引发观影狂潮。 　　2、印度影史最大胆最热辣最刺激的大片。 　　3、当情欲焚身的绝色少妇遭遇旷世猛男…印度现代激情版《金瓶梅》。 　　4、印度性感女神、成龙新作《惊天传奇》女主角莫莉卡?赫拉瓦特化身现代“潘金莲”。 　　5、印度头号性感王子埃朗?哈斯米《真爱无敌》银幕展露激情本色。 　　 　　my blog: http://www.imyue.net

本剧以刀客八墩的爱恨情仇及其多舛的命运和无奈悲凉的人生轨迹为线索，讲述了一个具有浓郁的西部大漠风情粗砺、豪迈而悲壮的故事。逞强好胜、剽悍野性的八墩是靠刀头赌博为生。年轻漂亮的寡妇甘草深深地爱着他。而甘草与儿子旦旦又靠货郎“骆驼”养活，“骆驼”也深爱着甘草。甘草和八墩相爱，让“骆驼”心中十分酸楚和失落。 八墩因飞刀的功夫了得而名震方圆百里，他时常被当地的恶霸麻九和五爷利用，参与他们以刀客生命为代价的赌博之中。在一次五爷与麻九较量的赌场上，“骆驼”为了甘草，替八墩杀了麻九，自己也死于非命。而后八墩杀了五爷，结束了刀客生涯，带着甘草和旦旦流落到大漠的一个小镇，以打铁为生过着平静的生活。 此时杨明远来到了镇上，以开棺材铺为生，为使生意火起来，有意挑唆当地大户李兆连和酒坊老板胡为之间的矛盾，煽动两家械斗。但八墩化解矛盾，平息了风波，他不希望小镇和睦的生活被仇恨所改变。为此杨明远对八墩怀恨在心，便设法夺了八墩镇长之位，并谋害李兆连的儿子，嫁祸于胡为，最终挑起李胡两家仇杀，使小镇伤亡遍地。八墩忍无可忍，重新穿起刀衣…… 十年后，儿子旦旦已长大成人，因八墩一家生活清贫，没钱给儿子娶媳妇，便用当年“骆驼”留下的一匹骆驼同人贩子换一个叫环环的女子和旦旦成婚。全家人企盼着过上祥和平安的日子。但命运捉弄人，旦旦婚后发现自己有着羞于启齿的疾病，此事又被人贩子赵镇得知，使八墩一家蒙受羞辱，甘草状告赵镇无济于事，旦旦找赵镇复仇失败，只得与环环远走他乡，八墩满腔怨恨，伤心无奈坐在荒凉的大漠上。

拍摄时尚和野生动物的摄影师维克拉姆与妮莎处於热恋之中，妮莎搬进了维克拉姆在郊外的别墅中居住。很快，妮莎就在别墅中发现了很多秘密，维克拉姆的前女友罗西妮为何会神秘失踪呢？

本片讲述的是一个果阿杀手收买了一位前警员Arjun（埃朗·哈斯米 饰）来帮他寻找失踪的女孩的故事。Arjun是一个为了可以填饱肚子，挣更多的钱，从而干过了很多错事的前警官。作为一个无神论者，他捐助了大笔的财富给教堂，只为了能从中获得更多的钱。当杀手在经济低迷，他的黑客失踪的情况下，找到了Arjun帮他去寻找失踪的女孩。Reshma是一位17岁的大学女生，她沦落风尘只为了养家糊口。她正是杀手用来引出那些失踪女孩藏身之处的诱饵，送去了Dheeraj（Prashant Narayanan 饰）那儿。而Dheeraj则是一个杀害了失踪黑客的精神病杀手。到底Reshama是成功的引出了失踪女孩呢？还是她也会被这位精神病杀手杀害了呢？最后这位精神病杀手又会不会受到法律的制裁呢？

本剧以刀客八墩的爱恨情仇及其多舛的命运和无奈悲凉的人生轨迹为线索，讲述了一个具有浓郁的西部大漠风情粗砺、豪迈而悲壮的故事。 逞强好胜、剽悍野性的八墩是靠刀头赌博为生。年轻漂亮的寡妇甘草深深地爱着他。而甘草与儿子旦旦又靠货郎“骆驼”养活，“骆驼”也深爱着甘草。甘草和八墩相爱，让“骆驼”心中十分酸楚和失落。 　　八墩因飞刀的功夫了得而名震方圆百里，他时常被当地的恶霸麻九和五爷利用，参与他们以刀客生命为代价的赌博之中。在一次五爷与麻九较量的赌场上，“骆驼”为了甘草，替八墩杀了麻九，自己也死于非命。而后八墩杀了五爷，结束了刀客生涯，带着甘草和旦旦流落到大漠的一个小镇，以打铁为生过着平静的生活。 　　此时土匪头子杨明远来到了镇上，以开棺材铺为生，为使生意火起来，有意挑唆当地大户李兆连和酒坊老板胡为之间的矛盾，煽动两家械斗。但八墩化解矛盾，平息了风波，他不希望小镇和睦的生活被仇恨所改变。为此杨明远对八墩怀恨在心，便设法夺了八墩镇长之位，并谋害李兆连的儿子，嫁祸于胡为，最终挑起李胡两家仇杀，使小镇伤亡遍地。八墩忍无可忍，重新穿起刀衣…… 　　十年后，儿子旦旦已长大成人，因八墩一家生活清贫，没钱给儿子娶媳妇，便用当年“骆驼”留下的一匹骆驼同人贩子换一个叫环环的女子和旦旦成婚。全家人企盼着过上祥和平安的日子。但命运捉弄人，旦旦婚后发现自己有着羞于启齿的疾病，不能与环环同房，此事又被人贩子赵镇得知，便乘机强占了环环，使八墩一家蒙受羞辱，甘草状告赵镇无济于事，旦旦找赵镇复仇失败，只得与环环远走他乡，八墩满腔怨恨，伤心无奈坐在荒凉的大漠上。

《少康战情室》是TVBS频道播出的时事新闻类节目，讨论包含时事评论与当天的突发新闻议题，由赵少康主持。

《少康战情室》是TVBS频道播出的时事新闻类节目，讨论包含时事评论与当天的突发新闻议题，由赵少康主持。

Julia Ormond was swept off to Hollywood to become a star - but somehow it didn't happen. Now she's in London to appear in David Hare's new play. She tells Harriet Lane why she came back 　　 　　Five years ago, the smart Hollywood money was on Julia Ormond becoming the new Julia Roberts or the new Meg Ryan. Instead, she went off at a different angle and became the new Geena Davis. Like Davis, Ormond enjoyed a spectacular launch in Hollywood, buoyed by gallons of publicity rocket fuel: a dazzling ascent swiftly followed by a tumble back to earth at the end of a blackened stick. 　　There is something rather Hilaire Belloc about Julia Ormond's story, something a little cautionary. Or rather, there would be if she would only play along with it, cast herself as The Fallen Star, or The Girl From Surrey Who Thought She Was Audrey Hepburn. But one role she's simply not interested in is that of victim. 'For sure, you don't believe the good stuff,' says Ormond, referring to the hullaballoo that surrounded her in 1995 when Legends of the Fall , First Knight and Sabrina all opened more or less simultaneously. 'I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.' 　　 　　 　　Article continues 　　 　　-------------------------------------------------------------------------------- 　　 　　-------------------------------------------------------------------------------- 　　 　　And it's true: she did know it was coming. At 29, Ormond hadn't submitted rapturously to the star machine. There were sacrifices she didn't want to make. On-set admirers called her 'formidable' and 'flinty' and 'honest'; unnamed sources grumbled about 'attitude'. Looking back at her earliest interviews, conducted amid a swarm of excitable movie execs and publicists, with superagent Michael Ovitz himself on hand to fetch her glasses of water, you note a rich seam of ho-hum scepticism. 'They seem to be very sure things are going to be a success,' Ormond told Vogue in 1995. 'I'm not being negative about it, but I'm hedging my bets.' 　　Certainly, the timing was unfortunate. Legends of the Fall, where she played the love interest, was quickly followed by First Knight, a hilarious turkey in which a trumpet-sleeved Ormond was Guinevere, torn between Sean Connery and Richard Gere. Then came a remake of Sabrina, in which director Sydney Pollack misguidedly steered her into Audrey Hepburn's ballet pumps. Though she knows Sabrina was a mistake, Ormond has no regrets. 'It was a fantastic learning experience and OK, I got slammed because I wasn't Audrey Hepburn... but you could have predicted that, really, if you'd opened your eyes wide enough. But I was hungry for the learning experience and didn't feel secure enough to say no. You need to be bloody secure to say no.' 　　 　　She knew she was lucky, but she also knew she was out of her depth - not with the acting, but with the stuff that surrounded it. 'The odd thing for me is the focus on looks which happened in the States. I'd always felt that was not going to be a strong point. That made me feel very disturbed, because it never seemed to be about how much hard work was involved. Ever. It was about... "hazel eyes". It does help if you can brush that stuff off.' 　　 　　Billed by the publicists as an ingénue, Surrey-born Ormond was no such thing, and this may have saved her bacon. After drama school and an advert for cottage cheese, she had spent a decade as a jobbing actor in the UK, carving out a strong reputation on stage (in 1989, she'd won the London Critics' Award for Best Newcomer, in Christopher Hampton's Faith Hope and Charity at the Lyric Hammersmith) and television (in particular, as a drug addict in Traffik) before landing Legends. 　　 　　'I found it all very scary. This fairytale gets built around you - as if you've been walking through the streets and then Sydney Pollack sees you and goes, "I'll put you in something!" When really you've gone to drama school and rep and then you've come to London and gone to auditions... and you've worked, solidly, for years. But that all gets forgotten. At first I was a bit indignant about it, and then I realised, "No, that's what people want, so that's what is given." But it's not in your control. It's just what happens to you, and that's what's frightening.' 　　 　　The roles, on the other hand, were a gas. In the UK, 'I'd seemed to play a lot of people who'd slit their wrists or cut off their hair or shot themselves or died of the plague. And if you do anything for too long, it starts to lack edge, to become too easy. Easy is the kiss of death. And so for me what I needed was to get my head out of my bottom, and so to go off and do First Knight - gallivanting around on a horse, with a cape, and knights in blue corduroy - was quite fun.' 　　 　　So Ormond gallivanted for a bit, airing her famous, transfixing smile as required ('You watch her just to wait for it to happen,' wrote one journalist), and then... vanished, at least from the mainstream. Stepping off the red carpet, she took bigger risks. A doomed film version of Miss Smilla's Feeling for Snow , directed by Bille August. A three-hour Russian epic, The Barber of Siberia, directed by Nikita Mikhalkov. When she was white-hot she'd been offered the Holy Grail of movie-star accessories, her own production company, and Ormond actually did something with hers, making a documentary about Bosnian women in Serbian detention camps, and working with Harold Pinter on a Karen Blixen short story that she hopes to direct. Last year she married an American who works in e-commerce. 　　 　　For her next trick, she's coming back to the London stage for the first time in nine years. At the Royal Court, in a break from rehearsing David Hare's new play My Zinc Bed , Ormond looks very London, very theatre. She's wearing a black jersey, chinos and navy flipflops, and her hair is rather tangled, as if it hasn't been brushed for days. No make-up. Her face has more character, more shade, than I was expecting. You do find yourself staring at her, just so you won't miss the wild energy that surges across it when she laughs. 　　 　　Ormond hasn't turned her back on film (the marital home is in LA, and The Prime Gig, a comedy co-starring Vince Vaughn and Ed Harris, is in post-production) but the Hare project was too good to miss. What swung it for her? 'The fact that David had written it and David was directing it at the Royal Court and it was a new three-hander. Plus, it's a brilliant play. I'm not making any comment on how we execute it or what we achieve through doing it, but reading it, it's a phenomenal play.' 　　 　　Since there's some sort of unofficial embargo about My Zinc Bed, neither Ormond nor her co-stars Tom Wilkinson and Steven Mackintosh will spell out what actually happens in the play, other than saying that it's about an entrepreneur who recruits a young poet to jazz up his internet empire. Ormond, who plays Elsa, the entrepreneur's wife, says the Hare script outshone every film script that was coming her way. In any case, she'd been keen to get back to theatre. 　　 　　'I ride,' says Ormond, who has a way with analogies, 'and doing theatre after doing film is a bit like doing dressage or showjumping after you've been out for endless hacks, having just a wild old time. You're put through your paces in a different way. And it's not that going out for a hack is wrong or bad, I certainly don't view it as that; it's just that there's something about the dressage, being put through your paces, that makes you better.' 　　 　　Yes, she feels the stakes are high this time around. 'I feel that David took a risk with me. I have a sense that by starting off in the theatre and going off to do films you are seen to sell out in some way. I don't hold truck with that, but you can't stop people from feeling it. So I think people are a little guarded about me. Oh, God! It's never just about the piece. Something else always washes over it.' 　　 　　She's anxious that her own trajectory, her own reputation, should not obscure Hare's work. When she adds, 'But then, my sense is that that' s all something in the past - I've escaped it', she sounds like she really means it. 　　 　　•

路易莎（帕斯卡·巴丝瑞 Pascale Bussières 饰）和娜塔莎（艾曼纽·贝阿 Emmanuelle Béart 饰）是青梅竹马的玩伴兼好友，彼此之间感情十分要好。十年前，两人各自走上了不同的人生道路，期间了无音信，十年后，命运让她们再度相逢。此时的她们都成长为了成熟富有魅力的女性，路易莎如愿成为了一名牙医，而娜塔莎亦为了自己的演员梦进行着不懈的努力。 　　娜塔莎正在争取一个在热门舞台剧里出演主角的机会，看着娜塔莎认真的样子，路易莎决定不惜一切代价也要让好友的梦想成为现实。随着时间的推移，路易莎一点一滴的渗透了娜塔莎全部的生活，她搬进了娜塔莎的家，从方方面面干涉着娜塔莎的选择，这让后者渐渐感到了束缚。

我們的電影，是音樂。 　　只有音樂，沒有別的了。 　　出道12年來第一部音樂電影 　　休團3年前的完美呈現 　　這次收錄成《故事未了》音樂專輯的13首歌曲，是蘇打綠的第四張live專輯，在即將休團三年之際發行，期盼為他們的音樂作品劃下完美的句點。 　　關於蘇打綠的音樂電影《故事未了》 　　蘇打綠的電影不像既定印象中的電影， 　　它的主角是音樂，只有音樂 ，沒有別的了。 　　每一首歌有一幕場景，每一句歌詞就是一串對白， 　　《故事未了》其實不過是一首歌緊接著下一首歌， 　　而歌與歌之間的流動，承載起每一個小小的故事； 　　這些故事遇見你，是我們的劇情。 　　蘇打綠用交響樂和搖滾樂交織的音符， 　　在∞無限輪迴的舞台上，在圓形環繞的大螢幕裡， 　　去表現他們心中音樂最美的那個樣子。 　　沒有一個人可以看到全部，觀者只有自己全心全意的投入， 　　才能看透這些華麗背景，無非是為了成就音樂本身， 　　那種純然不需要解釋就已經被感動到淚流滿面的神奇力量。 　　於是主唱青峰說： 　　「終於有一次演唱會，我們不用去在乎那麼多其他表演的形式，我們只要在乎音樂應該做什麼事情，這對我們來說，是很純粹的一件事情。」 　　「你們，跟我們一起拍了一部電影，這部電影，是音樂。這裡頭，所有的對白、劇情，只有音樂，我們只想用音樂、用作品說話。」