The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. 　　At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. 　　But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. 　　I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. 　　by D.R. [email protected]

三十岁的孟秀莲被大将军丈夫大雨夜扫地出门，意外被年轻俊朗的皇帝陆彦舟临幸，醒来后孟秀莲惊恐逃离。六年后，孟秀莲奉旨携三胞胎进宫为太后贺寿，被前夫和小妾羞辱，亲嫂子也落井下石污蔑于她，危机关门，陆彦舟霸气护妻儿，最终，孟秀莲母凭子贵，成为了人人敬仰的皇后。

根据蜀客的同名小说改编，主要是讲述千年的茶花小妖与掌管中天的中天王之间的千年纠葛爱情的故事。

根据蜀客的同名小说改编，主要是讲述千年的茶花小妖与掌管中天的中天王之间的千年纠葛爱情的故事。

二本考古学专业大学毕业生李朝宁，毕业后回到姨妈的茶馆打下手。因他对待董贤与汉哀帝关系的看法曾与导师发生过激烈冲突，最终只能无奈妥协。李朝宁对此一直心有不甘，试图查阅史料，创作小说来作证当时自己的观点，但小说一直无人认可。 　　中元节这天，李朝宁陪失恋的表姐步萤去古镇拍照，初次遇见了脸谱制作手艺人陆云安。陆云安的工作室入不敷出，经营惨淡，不得已将业务拓展成旅游景区里，靠租古装和面具营生的古风摄影店。二人在深夜再次相遇时，却看见了彼此的前世今生就是董贤与汉哀帝。两个人相互试探中，陆云安发现李朝宁有自毁倾向。 　　面对陆云安的靠近，李朝宁退缩了，他无法直视自己的内心。但陆云安一直默默鼓励、陪伴着李朝宁。直至最后，在陆云安和表姐步萤的帮助下，李朝宁认清了自我、变得勇敢，获得了救赎。

怜是来自未来的少女。五百年后，世界受计算机“时间意志”的统治，人们被分成有用者和无用者两类，分住在不同的区域。怜遭受流行被放逐到过去，同时，她还受着“孤独之刑”，除了在学校里和家里，没人认识她。因为记忆被“时间意志”修改了，所以同学们和奶奶都不对怜的突然出现感到奇怪，然而只有一个人——鸣濑玲人察觉到了异常。 　　玲人出了学校也认识怜。玲人喜欢上了带着神秘气息的怜，而怜也从玲人那里感到了温暖，打算告诉他未来的事情和自己的真实身份。然而随着两个人越来越接近，周遭却怪事频发。 　　不久后，班里来了一个叫修的转校生，他的出现进一步打乱了两人的生活。玲人从修那里得知，自己和怜的未来有很大的关系。不断刺激他们的修其实就是“时间意志”……

Documents the mysterious disappearance of Iraqi women.

马上就要元宵灯会了，小伙伴们纷纷约定一起拿着自己做的花灯上街玩耍。真真捡到了一个不属于自己的鱼灯，甚是喜爱，但是他并不会想到，之后这个鱼灯给他带来了很大的烦恼...