过气天使

　　上世纪60年代末，大学生张宇铭打伤了强暴他妹妹的坏人，逃往老峨眉山时精疲力竭晕倒，被聪敏伶俐，美丽纯朴的秀娥救回家，并赢得家人的信任。时光伴着情感慢慢延伸，两个年轻男女中间有一种难以言说的情愫在彼此之间滋生。群专人员的到来，让张宇铭感到潜在的危险不得不离开。尽管有太多不舍，今峡湖码头，双方一言不发只是互留了信物告别。 时间转眼到了2010年，秀娥，60岁的老人，经营着一家老峨眉山旅游开发公司等待着一个人。年已六旬的张宇铭已成了一家跨国公司的董事长，回国搞投资。投资开发中巧遇老峨眉山昔日场景，正是他梦里寻它千百回的地方。当年离去的张宇铭回来了，他至今未娶。秀娥来到今峡湖码头等候。鸳鸯树下他们结发，百年好合。

未来世界外星黑暗势力突袭地球，上海成为了人类最后的希望。大学生江洋（鹿晗饰）追随女指挥官林澜（舒淇饰）进入了上海堡垒成为一名指挥员。外星势力不断发动猛烈袭击，林澜受命保护击退外星人的秘密武器，江洋和几个好友所在的灰鹰小队则要迎战外星侵略者，保卫人类的最后一战最终在上海打响……

卸下舞台上的魄力，BoA 在片中化身纯情的廿九岁女子「秀莲」，与一心想和她结婚的男子「俊」上演童话般的浪漫故事。看似平凡的景致中闪耀着两人的真情，因此《秋日邮局》日前在全州国际电影节抢先上映时，便获得了热烈好评。

　　如果没有你我会怎样，资深记者小蒙，车被人撞坏，被迫开着肇事者傲凡的豪车代步，本无交集的两人却意外成为同事，在工作中两人的心越走越近，爱情本以为就这样到来，当小蒙发现傲凡接近她只是为了了解收购公司，觉得被利用的小蒙伤心欲绝，愤然辞职，决定离开这座城市，结束这段感情。然而峰回路转……

　　由芭乐，峰洋影视，乐桔影视联合出品，青年导演梁锋执导的电影《那年匆匆》讲述了一对高中情侣，女孩患病将要不久人世，本来叛逆、不求上进的男孩却成熟起来，帮助女孩完成最后一个愿望，他带着女孩走遍附近所有的山峰、海边、公园，男孩带着相机把女孩最美的时刻一一记录下来。在一次拍摄日出的时候女孩忽然晕倒，醒来后就在家附近的医院。女孩对自己的身体很清楚，于是，她对男孩说把他们剩下的旅程走完，记录下最美的日出。把男孩支走后，女孩做了一个惊人的决定，她要像荆棘鸟一样，给男孩留下最后的礼物。就在朋友们的帮助下，女孩忍受着病痛的折磨，坚持把一首歌从作曲到作词全部完成。可是女孩的声带已经无法发出声音，因为她的声带已经被病痛折磨的经受不住声带哪怕最轻微的震动，但是女孩不放弃，一遍又一遍的反复尝试发出声音，铁杵磨成针，女孩终于独立完成了整首歌的录制。当男孩收到女孩朋友们的电话，知道她非要这么做的时候，男孩立即就动身回了医院，那时，女孩已经录完了整首歌曲。女孩的身体已经非常虚弱了，她的最后一个要求就是让男孩看着她睡着，手术结束后，女孩的妈妈给了男孩一个u盘，女孩说到：再也不能陪你看日出了，不过不要怕，是你陪着我睡着的，我爱你。
　　数年后，男孩成为了一名优秀的摄影师。但是最让他刻骨铭心的，始终是第一次为女孩拍摄的照片。

　　赵灿（张国民 饰）曾是前途无量的运动健将，却因为一场意外而双目失明，前途化为泡影。无法接受生活巨变的他一个人坐在江边，仿佛失去了灵魂，产生了轻生的念头。此时一个名叫叶明明的女孩路过赵灿身边，苦口婆心的劝说他离开了江边。
　　之后，赵灿来到一家盲人工厂上班，让他没有想到的是，在这里他竟然和叶明明重逢了，更让赵灿感到震惊的是，叶明明和他一样，也是一名盲人。厂长将护送赵灿上下班的工作交给了叶明明，两人在此过程中渐渐碰撞出了感情的火花。一天，赵灿和叶明明收到了一个天大的好消息，那就是他们的眼睛有了复明的希望。

　　Beautiful half-breed Pearl Chavez becomes the ward of her dead father's first love and finds herself torn between her sons, one good and the other bad.

　　原作：水上勉

　　20世纪40年代，内战快结束之际，台湾医生严泽坤（金城武 饰）频繁往返于台湾通往大陆的邮轮“太平轮”上，以便购买药品。为了维持家庭生计，表面上他风平浪静，内心却一直没有停止思念因战争被迫分离的恋人雅子（长泽雅美 饰），而他的弟弟严泽明（杨佑宁 饰）则一心想去大陆搞革命，苦难家庭风雨飘摇。严泽坤偶遇有过一面之缘的将军雷义方（黄晓明 饰）夫人（宋慧乔 饰），雷将军的通信兵佟大庆（佟大为 饰）念念不忘底层女性于真（章子怡 饰），还有士官（王千源 饰）、夫人（俞飞鸿 饰），众人相逢在最后一班去台湾的“太平轮”上，书写了战乱年代的悲欢离合，命运的齿轮开启，大时代下的小人物该何去何从？

　　晓乐（张稷轩 饰）和小燕（赵圆圆 饰）是一对小夫妻，跟众多北漂一族一样，他们也怀揣着自己的梦想。当机会终于来临的时候，事情并不像两人想象的那么简单。相伴的时间却越来越少。晓乐的星途一片光明，而自己不过是一个发廊妹！自己是否已经追不上晓乐的脚步？为了晓乐的梦想和发展，小燕决定离开。原本坚信只要两人在 一起就是幸福快乐的小夫妻就这样分开了。小燕带着一颗受伤的心走了，留给晓乐的是空留快乐记忆的深深的孤独！他终于明白，对于他来说，什么才是最重要的！他一定要找回属于他的真正快乐的梦想！

　　The tragedy and comedy in Carlo's life begins, grows and ends like the tragedy and comedy of Portugal. In the company of his close friend, João da Ega, allegedly a brilliant writer, Carlos, with his idle existence as an aristocratic doctor, spends his time to enjoying friends and lovers. Until he falls in love. She is a new character in this revolutionary novel. It's a vertiginous passion that goes beyond that past gloominess to reach a new and darker abyss, incest.

　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.