簡介：夜深人靜，白日的束縛悄然褪去，是時候迎接真實的自己。在這里，我們?yōu)槟鷾?zhǔn)備了一場感官的極致盛宴。每一次心跳，都是對寂寞長夜最有力的回?fù)?。探索未知，體驗前所未有的私密與刺激。別再壓抑，點擊開啟屬于你的午夜狂歡。

簡介：故事發(fā)生在偏僻貧瘠的山村之中。張保民（宋洋 飾）是一名礦工，一天，他被妻子翠霞（譚卓 飾）叫回了家，原來，他們的兒子失蹤了。帶著兒子的照片，不會說話的張保民踏上了尋子之路，途中，他遇見了大資本家昌萬年（姜武 飾）的爪牙，兩方人馬起了沖突，昌萬年騙張保民自己知道他兒子的下落，實際上，他隱藏了一個黑暗的秘密。昌萬年一直靠著行賄非法收購煤礦以牟取暴利，身為他的律師，徐文杰知道了太多不可告人的秘密。公檢法機(jī)構(gòu)開始著手調(diào)查昌萬年的公司，徐文杰在這個節(jié)骨眼上玩起了失蹤。為了逼迫徐文杰就范，昌萬年綁架了他的女兒。

簡介：故事發(fā)生在元朝末年，失傳已久的屠龍刀和倚天劍重現(xiàn)江湖，傳聞中，若是能同時擁有這兩把寶物，便能破解驚天秘密。一時間，武林之中牛鬼蛇神們紛紛摩拳擦掌，蠢蠢欲動。張翠山是張三豐（張瑛 飾）的五弟子，為了調(diào)查師兄遭人暗算的真相下山，在此途中結(jié)識了名為殷素素的女子，之后他們受金毛獅王謝遜（羅烈 飾）脅迫，來到孤島之上，在這里結(jié)婚生子，取名張無忌（爾冬升 飾）?！　∫换窝凼赀^去，當(dāng)張翠山一行人再度回到武林之中時，才發(fā)現(xiàn)這里早已經(jīng)變換了模樣，張翠山和殷素素為了守住屠龍刀的下落而死在了眾人的圍攻之下，年幼的張無忌亦身受重傷。

簡介：故事描述，名門華山派大弟子令狐沖突聞一陣激越樂音自林中傳來，循聲尋去，原來是衡山派劉正風(fēng)與魔教曲洋，正在合奏“笑傲江湖”一曲；劉將曲譜交沖，囑他傳給懂音樂的人，然后與曲洋二人互擊對方，雙雙致死。一年后，沖終找到懂音律的人，乃是魔教教主任我行（谷峰）之女盈盈，沖將曲譜交給她，誰料卻因此間接導(dǎo)致沖被逐出華山派門墻……

簡介：

　　畢生的朋友們在悉尼棕櫚灘聚會

簡介：

大俠段長青（狄龍 飾）在一小鎮(zhèn)得遇名妓柳銀絮（施思 飾），柳懇求段殺死現(xiàn)以“神醫(yī)”為名的黑道高手郭天勝（谷峰 飾），為其被哥哥報仇。段聯(lián)同鎮(zhèn)內(nèi)賭坊護(hù)衛(wèi)高門（傅聲 飾）殺入郭家， 正邪兩派惡斗連場……

簡介：大陸女子小倩為了把弟弟從監(jiān)獄中搭救出來，遠(yuǎn)赴香港準(zhǔn)備賣身籌錢，不料卻卷入黑社會大哥被殺一案，小倩從事發(fā)現(xiàn)場卷款逃走，黑社會內(nèi)的真正兇手對小倩下達(dá)了追殺令?；挪粨衤返男≠粚⒗暇瘑T彪叔打傷，逃到了賽車場，摩托車手阿富助小倩脫離險境，又將其收留在家中。阿富本是富家公子，因酷愛賽車造成母親車禍身亡，導(dǎo)致他和父親的關(guān)系疏遠(yuǎn)，獨自在破敗樓層中居住，每晚在賽場上揮灑孤獨的青春。在警局遭受嘲笑的彪叔為了挽回同儕尊重，出力尋找小倩的下落，同時黑社會方面也漸漸逼近了阿富和小倩的所在。這天，在賽場上遭受搭檔背叛的阿富回家時發(fā)現(xiàn)，他的家已經(jīng)被黑社會付之一炬…

簡介：　　遼東才子王爾烈與陳月琴情投意合，因時代、階級的束縛，無法成婚，陳月琴絕望之際選擇出家，心灰意冷的王爾烈也選擇了在關(guān)外的佛門圣地龍泉寺過著“半朝孔圣半朝佛”的寒窗苦讀的日子。一日，苦熬相思的王爾烈在半夢半醒之中，竟夢回三百年后新中國下的鞍山，在這里，王爾烈遇見了與朝思暮想的陳月琴一模一樣的女子子墨，發(fā)生了一段奇幻浪漫的愛情故事。

簡介：表面上，瑪麗莎·柯茲·威爾遜有著叫人艷羨的生活：嫁給了著名的特務(wù)追蹤電視新聞記者，剛生下了一個可愛的小寶寶，還有一對聰明伶俐的繼子繼女，但其實瑪麗莎是個退休的特務(wù)。當(dāng)瘋狂的時間控制者發(fā)出警告說要偷走時間并征服全世界的時候，瑪麗莎的生活發(fā)生了翻天覆地的變化。繼女瑞貝卡和繼子塞西也被卷入了戰(zhàn)爭，而他們發(fā)現(xiàn)自己無聊透頂?shù)睦^母居然是曾經(jīng)最棒的特務(wù)。帶著令人眼界大開的新奇裝備，非常小特務(wù)們非常有可能依靠智慧再一次拯救世界，并且讓全家人團(tuán)聚。

簡介：被外星人控制的恐龍王對地球發(fā)起了攻擊，迷你特工隊在強(qiáng)大的力量面前屢屢挫敗，關(guān)鍵時刻，曾經(jīng)與恐龍王有著深厚友誼的少年——楊能否重新喚起恐龍王的記憶，一起來對抗外星人。

簡介：　　一名女記者遇到了一名持槍搶劫者，她并沒有簡單的選擇報警，而是與之接觸，當(dāng)女記者與搶劫者達(dá)到心靈溝通時，這名持槍搶劫者做出了影響他一生的決定……

簡介：The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. L?nborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merl?se Church.　　On 4 July, Dreyer went in advance to Ringk?bing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.