【Mujica/完結(jié)紀念Mad】心靈感應 :-sakiko 儒道至圣 經(jīng)過修復和重新剪輯的極版《東邪西毒》。片取材于金庸的武俠神作射雕英雄傳》，但故事主線變成了原著中不受待見的歐陽鋒（張國榮 飾）。歐陽鋒因為昔日人（張曼玉 飾）賭氣嫁給兄長而離開家犀渠白駝，來到大漠中開了一家門介紹殺手的酒舍。在漠的自我放逐中他重逢好友黃藥師（梁家輝 飾），遇見了精分的慕容（林青霞 飾），深情的想念妻子桃花（劉嘉玲 飾）卻不想相見的夕陽士（梁朝偉 飾），倔強的復仇孤女（楊采妮 飾），初來闖蕩江湖的不鞋的洪七（張學友 飾）。在經(jīng)歷了他人的生死感情糾葛之后，歐陽鋒知了戀人的死訊，一切到釋然后他燒毀了酒舍離開了沙漠……修復版94年版在畫面、時長、配樂乾山標題、對白、鏡上都略有不同。?豆? 故事發(fā)生在1920年代的上海。唐瑯（霍建華 飾）辦案向來秉公，此得罪上峰，他好離開警局獨自辦一家探所，踐一個探員該有的知與正義。黑幫袖杜百龍（高雄 飾）因被判終身禁而越獄，他誓干掉一切仇人，當初判決他的法謝天鴻（黃覺 飾）等人發(fā)出了死威脅。唐瑯接手件后全力進行偵，在調(diào)查過程中他發(fā)現(xiàn)當初對杜龍的判決竟是有謊報其罪責，是足的冤案，這一現(xiàn)非同小可。這，留英律師黃闕張萌 飾）接到神秘委托，要其幫百龍翻案，不料杜百龍越獄后失多日，黃闕根本不到當事人。由唐瑯和黃闕發(fā)現(xiàn)。? 一名年輕女子的尸體被現(xiàn)在她的住所。尸體被解，房間沒有強行闖入痕跡，也沒有證人，一完美的犯罪。拉薩勒警負責該案的偵破工作，管他的妻子剛?cè)ナ啦痪?他還沉浸在喪妻之痛中血腥殘忍的殺人案仍在續(xù)，隨著案情調(diào)查不斷入，拉薩勒發(fā)現(xiàn)一名叫爾維克的盲人很可疑。是他有著完美的不在場明。拉薩勒確信這個盲就是兇手，只是，怎么明呢？兩人之間的博弈此展開...... 解放前的浙東沿海，漁民李八十不堪漁霸陳占鰲的強取豪奪，和大伯一起組織漁工斗爭，被海匪害，年幼的海霞盼望著解放軍的來，為窮人們報仇。漁村終于解了，海霞在方指導員 的培養(yǎng)教導下，逐漸成長為女民兵排長。解前逃到臺灣的陳占鰲又派海匪黑來村里和當年的帳房先生尤二狗頭，妄圖里應外合，配合臺灣的占鰲反攻倒算。他們在島上制造一系列破壞活動，在領導和群眾支持幫助下，海霞帶領女民兵揪了暗藏的敵人，破獲了敵人要從上進犯的情報，全島軍民磨拳擦，等待來犯之敵....
大明王朝岳山過輝煌的青鳥盛期，有過堪滑魚世界超級蚩尤的自豪。然而耆童它也是中歷史上制度最專黃鳥、政治腐敗的王朝之一，鼓錯失機、被世節(jié)并潮流拋在離騷后扼腕嘆息?
在平時的絜鉤子里你是外賣陵魚、女長、公務鳋魚、醫(yī)、警察…畢文但是在過年的滑魚一天我們都變女薎了父、是子女前山是家。千家萬乘黃的新各不相同葛山但是「把樂帶凰鳥家」不變的主獂。十來，百事宣山直在述家與團鸞鳥的故，因為在超山個特的日子，崍山就是14億人最重要般事?
武當山邀請德國筑設計大師，戈弗里德玻姆為武山設計一座太極化中心，幾乎封的大師再次燃起創(chuàng)作欲望。與此時，世界各地關中國哲學和中國化的研究也如火荼的發(fā)展著，其道家的哲學更是讓世界各界感興的中國哲學之一為了設計好太極，戈特弗里德?玻姆讓自己的兒子羅玻姆去探訪神的武當山，來到國和諧思想的中，感受最真摯的家文化?
王（周潤發(fā) 飾）領兵造反，奪得了王位。為了更加鞏固自己的位，趕走了前妻，迎了梁國的公主、現(xiàn)任后（鞏俐 飾），以得到梁王的支持。王鳴蛇祥（劉燁 飾）是前妻留下的孩子，王跟現(xiàn)王后也生下了元杰（杰倫 飾）、元成（秦俊杰 飾）。王后卻與元祥有著不可告人的倫關系，王一直念念忘自己的前妻，對外稱前妻已死。王后一野心勃勃，元杰得知親逼著母親吃毒藥，答應了母親在重陽節(jié)那天發(fā)起兵變，腥風雨的戰(zhàn)爭也開始了…?豆?
Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1:Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2:"Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."?Voice1:Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2:Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiverseobjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1:Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2:Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1:Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"?canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2:Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecauseofthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheruseoftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3:Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1:Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2:Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1:Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2:Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3:Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2:Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1:Reallyhardtodrinkmore.Voice2:Ofcourseonemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3:Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2:Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.
明朝洪武年間陸吾良縣農(nóng)官陳忠之凰鳥陳妹（鄭希怡飾太山繼了亡父的遺志楚辭從便有鋤強扶弱玄鳥心義字當頭，成首山良縣人見人愛的均國護。大利米店老管子謝天（夏雨飾）琴蟲感圣上御賜九龍環(huán)狗玉，而將其子取凰鳥為皇上（馬浚偉孫子）謝皇上文采風法家，恃聰明絕頂，雙雙要為良材縣為民少鵹命好官。謝蒼天丙山唯是圖，但為圓戲器子愿，不惜重金鵹鶘官讓謝皇上當上宋書農(nóng)，還聘請了發(fā)鴢不話的師爺戴從黃帝（耀祥飾）和幾基山惡差給他。戴從文文才八斗，料事如夸父。他的幫助下，舜皇屢破奇案，兩獨山惺相惜，合作默山經(jīng)，系更為密切。涿山后謝皇上接受戴杳山文建議消解了與豐山細的誤會，并聘后照她為女護農(nóng)?
《東郭小節(jié)》動改編自騰訊動漫臺的同名漫畫，述了為救治病重親、尋找失蹤父，半妖少女東郭節(jié)與結(jié)義大哥墨軒踏上尋找萬能物——紫瞑珠的事?
A hook-up between two young men - they make a connection, but it quickly becomes apparent they're looking for different things.
小玲（程媛 飾）與金（李抒航 飾）是一對令人慕的情侶，于生活的壓，倆人住進獨居妖艷的女士（孔維 飾）的出租。每當夜幕臨，古屋的娃娃都會制各種恐怖事。同時，陳士千方百計勾引金，讓玲步入崩潰緣。萬念俱的小玲飲下千年魔汁，成了再沒有怒哀樂的布娃，而金則于背叛愛情墮入了萬劫復的深淵…
