[宠儿]导演欧格斯·兰斯莫斯，编剧托尼·麦克纳马拉将再度合作新片[霍克莱怪物]！这部由理查德·布劳提根撰写的小说于1974年出版，讲述一个名为魔法孩子(Magic Child)的15岁女孩，雇佣了两个英雄枪手去猎杀怪物，而这只怪物住在一个名为霍克莱小姐的房子地下室的冰洞中。而这场独特的冒险背后隐藏了许多秘密。蒂姆·波顿、克林特·伊斯特伍德、杰克·尼科尔森等曾尝试改编这本小说，但随后都放弃了该项目。

[宠儿]导演欧格斯·兰斯莫斯，编剧托尼·麦克纳马拉将再度合作新片[霍克莱怪物]！这部由理查德·布劳提根撰写的小说于1974年出版，讲述一个名为魔法孩子(Magic Child)的15岁女孩，雇佣了两个英雄枪手去猎杀怪物，而这只怪物住在一个名为霍克莱小姐的房子地下室的冰洞中。而这场独特的冒险背后隐藏了许多秘密。蒂姆·波顿、克林特·伊斯特伍德、杰克·尼科尔森等曾尝试改编这本小说，但随后都放弃了该项目。

一个名叫克林的垃圾工被他的过去所折磨，他希望能在平静的生活中得到救赎，但很快他发现他必须要和他过去的种种暴力行为进行和解。

‘Wider perspectives are needed now,’ states David Hockney, referencing both technical ways of seeing and the parameters of what we choose to view, in this spirited documentary spanning the artist’s career. Director Randall Wright – whose previous subjects include Lucien Freud and Sister Wendy Beckett – is here gifted a spectrum of archive material, which is pieced together with kaleidoscopic verve. Richest is Hockney’s own home-movie footage, taking in games of Scrabble with his family, giving candid insight into the painter’s relationship with his Bradford roots and the father he credits with a foundational credo – to never care what the neighbours think. As a character, Hockney emerges as a man of great friendships, a loyal cast of fellow artists chronicle his personal and artistic journey, each in possession of a crisp wit, bringing humour and light to the life of an artist who continues to broaden horizons. 　　Kate Taylor

A young Mohawk woman and her two lovers battle a squad of American soldiers hell-bent on revenge.

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

以丛林生存法则为企划包装，不论是温驯小绵羊，亦或是张扬狮子王，都别妄想这个世界会善待你，困兽之斗终将激发选手无限可能，跳脱传统选秀赛制，加上强烈的视觉概念，塑造节目独特性。节目由两位指标性导师林宥嘉、萧敬腾领军，每集再邀请一位飞行导师进行评选，同样选秀出身的背景，更期望寻找下一个好声音，重拾大众对音乐选秀节目之热情与期待。

卢克（瑞恩·高斯林饰）是一名技艺高超的从事惊险动作表演的摩托车手，他每天要做的就是，穿梭在一个又一个城市之间，在一个又一个狂欢节或嘉年华上用自…

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.