Eva, an upper-class housewife, frustratedly leaves her arrogant husband and decides to enter the call girl business. She lets Yvonne, a prostitute, teach her the basics and both set out for prey together, until Eva starts an affair with Chris, who turns out to be a call boy, as well. Consequently, she moves into his penthouse, large enough for both to offer their services separately

十年以前的1994年，矿镇下岗潮袭来。对于正值青春年少，且纷纷考上心仪大学的青年梅苇、刘白、雷富贵来说，并没有什么感觉。他们还是最好的韶华，最好的朋友，看电影、拍毕业照、吃着最好吃的冰棍。同时也面临着自己的少年维特之烦恼。刘白父亲刘波下岗待业，还要面临刘白上学的学费问题。三个少年，相聚矿镇最高的水塔，分享着烦心事，无意看到刘波骑着摩托进了山。刘白担心爸爸是又要去偷电缆，拉上梅苇和雷富贵一探究竟。三个少年跟踪刘波进了山里，正好撞见刘波抢劫运钞车，并枪杀三煤厂的会计和司机。刘波发现了他们，他们被迫还击，争执中枪杀了刘波…… 时间来到2004年。矿镇迎来了最后的动迁。三天后，矿区的所余居民、厂矿机关和医院学校等也将迁出安置。人们即将告别抬头黑烟遮日、低头煤灰满地的日子。在政府的组织下，三天后动迁工程必须收尾。最忙最乱最关键的三日攻坚，尤以矿区公安分局为重，全部的警力几乎都扑在搬迁工作和积案交接上。

布匿战争题材电影

《火焰中的星空》为符昌锋导演计划为台湾当代许多坚守岗位，默默从事艺术创作的工作者进行纪录片拍摄的首部作品。本纪录片的受访主角陶艺家林锦钟，就像是武侠小说中身怀绝世武艺的无名扫地僧，等待一动而天下惊。他致力研究自宋代以后已失传800年的曜变天目碗烧制技术，长达数十年的研究与烧制，凭藉现代科学知识，却采用最难掌握的传统柴烧，迄今已烧制超过1000窑次。林锦钟试图破解秘密，并转化为可以准确控制的系统知识，作为未来传承的基础。这也让他创作出个人标记强烈的极光系列作品，在温润的陶器上出现了金属流动线条，宛如极地夜空中惊人的极光⋯⋯。纪录片中，除了跟随拍摄林锦钟的创作之路外，更同时以宏大的史观，将曜变天目碗所蕴含的东西方历史文化，透过林锦钟的坚持与投入，使得这项几近失传的技艺再度衔接，俨然已为当代艺术、文化历史写下极其重要的一扉。林锦钟老师是位陶艺家，亦是一名科学家；当然也是个职人，更是文化传承的使者。看着窑里燃烧的火光，宛如炙热的青春与生命，只为捕捉瞬间却已永恒的风景。

暂无剧情简介

关于马其顿人民在历史上值得铭记的两件事：1903年的马其顿起义和科索沃共和国的成立

这部4集电视剧，讲述了在一个被德国占领的村庄里，由Anna Morozova领导的抵抗小组不断取得胜利，但最终他们为此付出了沉重的代价。

The international premiere of Le Streghe, femmes entre elles (France/Italy), like last year’s heart-rending Le Genou d’Artemide, is based on Cesare Pavese’s Dialogues with Leucò. Nature’s splendour, as Straub has always filmed it, pulses with everlasting energy throughout this delicately profound chimerical intersection of im/mortality.

A kind of heretic fantasy film. An expressionistic, surrealistic portrait of a Latin American woman. Not a personal portrait so much as an evocation of the consciousness of women in rural parts of such countries as Spain, Greece and Mexico; women who wear black from the age of 15 and spend their entire lives giving birth, preparing food and tending to household and farm responsibilities. Mujer De Milfuegos depicts in poetic, almost abstract terms, their daily repetitive tasks as a form of obsessive ritual. The film uses dramatic action to express the thoughts and feelings of a woman living within this culture. Through experiences of ecstasy and madness we are shown different aspects of the human personality.

The film chronicles a day in the life of three ambitious, passionate but misguided filmmakers as they set out to do a quick pre-production, a courtesy call to their lead actress, Eugene Domingo, and an ocular inspection of their film’s major location, the Payatas dumpsite. Director Rainier (Kean Cipriano), Producer Bingbong (JM De Guzman) and Production Assistant Jocelyn (Cai Cortez) are well-to-do, well-educated film school graduates who are dead set on making an Oscar worthy film. They believe they have a winning script, the energy and the drive to make their dreams come true. Like most filmmakers they know, they have devised a screenplay that will show the real essence of our culture: poverty. In the course of one day, they brainstorm and exhaust all possible treatment of their project: the story of Mila (Eugene Domingo), a mother from the slums, who out of desperation to survive, has sold her child to a pedophile. As they discuss the possible executions of the story, the movie-within-a-movie gets reborn in Jocelyn’s imagination several times. As a gritty no frills neo-realist film, as a glossy musical, as an over-the-top melodrama and as a docu drama using non-actors. For their last task of the day, they visit the dumpsite for the first time. As filmmakers gunning for authenticity, they get excited with the ”beauty” of the squalor around them. Soon enough, they are faced with reality as they come face to face with the real effects of their chosen subject. The film broke the box office records of the Cinemelaya Independent Film Festival. It is the first full length film to sell out all of its showings within the ten days of showing at the festival. The film was received well by film critics.The film earned a total of P20 million on its first five days. The film company set August 3, 2011 for a date of domestic release to over 50 theaters nationwide.