5.0 爱沙尼亚语 · 2024 · 爱沙尼亚 · 喜剧片
Ursel,Tilk,Linna,Tennosaar,蕾雅·莱斯特,Doris,Tislar,安妮·里曼,Eva,Koldits,克瑞斯托·维丁,Jekaterina,Linnamäe,莱恩·马吉,汉努-佩卡·约克曼
A comical triptych about residents in an apartment block district who long for a better life. When a black hole mysteriously appears in a lilac bush, they will have to face aliens, a giant spider, and an Austrian in breeches.
7.0 日语 · 2004 · 日本 · 日韩动漫
福山润,清水爱,新谷良子,南里侑香,金田朋子,松来未祐
主人公润和有泉奈这个亲妹妹，进学校时是极其普通的高中生。可是，在过去被卷入父母死亡的事故，润和自己也丢失了以前的那段记忆，幸存下来的润和被亲戚照顾着，与只剩下一人的骨肉亲人泉奈一起持续着二人生活。然后，现在……开始和泉奈上相同的高中，对两人来说，那里让他们忘记过去而快乐。新的生活，环境，还有初遇。对原来生活在只有妹妹存在的世界的润和来说，在这个街的生活分外的新鲜。 可是，不久润和由于事故而丢失了的记忆开始恢复后，在幸福快乐的生活中，对过去和现在和未来摇摆不定的润和……所谓被润和的记忆掩盖了的真实是……
8.0 法语 · 1959 · 法国 · 剧情片
内详
Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
7.0 国语 · 2015 · 大陆 · 剧情片
陈乔恩,李保田,马元,孙艺洲,周秀娜,娜仁花,刘威,丁海峰,房夕婷,邵峰,孙涛,刘晓晔,于波,陈楚翰,许松霆,张境佳,李琦
王小莫（孙艺洲 饰）是含着金汤匙出生的富家少爷，年纪轻轻便被送往国外深造艺术设计，学成归来后，王小莫进入了公司工作，希望能够在岗位上闯出一片属于自己的天地。然而，让王小莫没有想到的是，他竟然被分配到了老劳模时长工（李保田 饰）的身边，主要工作就是照顾他的饮食起居。 时长工的个性古怪又苛刻，平日里没少刁难王小莫，然而在相处的过程中，王小莫发现时长工冷漠的外表下隐藏着一颗古道热肠的心。时长工亦对不离不弃耐心善良的王小莫产生了信任的情感。王小莫对时长工的过去有着强烈的好奇心，抽丝剥茧之中，时长工和技术员薛亚兰（陈乔恩 饰）之间的爱情故事渐渐浮出了水面。
7.0 韩语 · 2013 · 韩国 · 日韩剧
李阵郁,赵胤熙,全卢民,李成俊
《Nine：九次时间旅行》投入了59亿韩元制作成本，是有线频道历史上超大规模的电视剧。 38岁的朴善宇（李真旭 饰）是一个在CBM电视台有着12年资历的成功记者。并凭借其判断力和领导力揭发许多爆炸性事件，迅速晋升到每晚12点新闻主播的位置。总是头痛的他，去医院作了精密检查后发现自己身怀绝症，命不久矣。除了母亲，让善宇最放心不下的是同为CBM电视台的记者——朱敏英（赵允熙 饰）。性格率真的敏英从第一天工作开始，就在善宇带领的小组里学习。虽然常常因为过失被善宇责骂，但对善宇的无比崇拜和好感还是让她在他身边像跟班一样渡过了五年。一次偶然的机会下，善宇在一年在喜玛拉雅冻死的哥哥正宇所留下的遗物中发现了9支香，那几支看似普通的香竟然是能够回到20年前时光的神秘锦囊......
9.0 英语 · 2018 · 美国 · 科幻片
斯托姆·瑞德,奥普拉·温弗瑞,瑞茜·威瑟斯彭,敏迪·卡灵,莱维·米勒,德里克·麦凯布,克里斯·派恩,古古·姆巴塔-劳,扎克·加利凡纳基斯,迈克尔·佩纳,安德烈·霍兰,罗温·布兰查德,贝拉米·扬,大卫·奥伊罗,康拉德·罗伯茨
梅格（斯托姆·里德 Storm Reid 饰）是一位平凡的10岁女孩，身形瘦小性格腼腆的她在学校里常常受到其他同学的欺负，这让她感到非常的苦恼。实际上，梅格拥有一对了不起的父母，他们两人都是世界知名的物理学家，梅格继承了他们优秀的基因，只是现在这基因还没有启动。 在一次冒险中，梅格的父亲失踪了，这给梅格带来了很大的打击。梅格的弟弟查尔斯（德里克·麦凯布 Deric McCabe 饰）不忍心看见姐姐闷闷不乐的样子，于是召唤出了命运三女神。她们告诉了梅格关于她父亲下落的线索，于是，梅格决定带着弟弟，以及一位暗恋着她的同班同学卡尔文（莱维·米勒 Levi Miller 饰）一起踏上了寻父之旅。
6.0 法语 · 1967 · 法国 · 喜剧片
雅克·塔蒂,Barbara Dennek,France Rumilly,France Delahalle
来到巴黎办事的于勒先生（雅克·塔蒂 Jacques Tati饰）初入巴黎就被超级现代化的世界博览会大楼所震惊。于勒先生很快就迷失在这座叹为观止的高科技大楼中，精妙绝伦的最新先进设备、流光溢彩的博览会景观以及来自世界各地的游客和顾客，都让于勒先生大开眼界。当于勒先生终于想起要去找办事的人时，天已渐黑。谈完公事，于勒先生来到了刚刚装修好的夜总会。午夜魅影，恍如白昼，里面的男男女女兴致正高。自然，于勒先生也加入了他们的狂欢队伍。于勒先生更一时兴起，把刚刚装修好的屋顶装饰弄了下来，屋内一片狼藉。怎知客人们非但没有觉得扫兴，反而玩得更加疯狂。旦夕之间已是清晨，狂欢一夜后的巴黎别有一番韵味。 由法国著名喜剧导演雅克·塔蒂自编自导自演的喜剧影片《玩乐时间》，用一种接近单色的色调和70毫米的巨大画卷，将钢筋玻璃世界的冷酷转化成格格不入的超现实影像。本片几乎没有对白，但巧妙的运用了音效，加上演员肢体动作的表现，有着较为浓厚的早期默片风格。
10.0 英语 · 2009 · 英国 · 喜剧片
克里斯·奥多德,马克·伍顿,迪恩·里侬斯·凯利,安娜·法瑞丝,Meredith MacNeill,Ray Gardner,Nick Ewans,Arthur Nightingale
游乐园工作的雷（克里斯•奥多德 Chris O’Dowd 饰）沉迷于时间旅行，在工作中因吓坏小游客而被解雇。朋友皮特（迪恩•里浓斯•凯利 Dean Lennox Kelly 饰）和业余作家托比（马克•伍顿 Marc Wootton 饰）在“恐龙汉堡店”扮恐龙打工，毫无前途。三人晚上来到酒吧打发时光，雷突然遇到一位叫凯西的美女（安娜•法瑞丝 Anna Faris 饰）。凯西自称来自未来，是专门负责寻找时间漏洞的技术员，她来此是拜访名人，因为雷在未来将是“伟大的雷”，并著有《时间旅行手册》。皮特和托比不相信雷遇见了“未来美女”，认为他是异想天开编排电影。皮特去卫生间小解，没曾想竟偶然进入了时间漏洞，出来后发现酒吧全是死人，包括他自己。惊慌四措的皮特将雷和托比也拽入了漏洞，从此开始了一系列前后穿梭的时间旅行冒险。
5.0 国语 · 2024 · 台湾 · 港台动漫
素还真,时间城主,最光阴,妲眸姬,舍脂多,齐天变
地平世界！人类屠龙！修关真境！刜伐争雄！这是一个人类凌驾于龙的世界这是一个修关的世界！这是！刜伐世界！ 中原正道领袖素还真为救挚友一线生，前往未知地域『刜伐世界』，经由浮动山城之主梦不觉指点，方得知进入之法，而梦不觉身上也背着与龙族的血海深仇，他又将对妖漫地狱产生怎样的影响，吹响传说之物君王赞的梦不觉之徒黄花落，其身份更是惊人，竟是龙族之后代，两人又将会有何冲突！ 刜伐世界中，素还真斡旋于各势力间，龙族、人族、修关者，每个势力皆与素还真息息相关，龙神紫泽、人皇妲眸姬、君位天牟，素还真如何在势力间交涉并成功找出挚友的下落，并平息这个世界硝烟不断的战火。 九龙归天，古老忏言即将成真，将为素还真与这个世界带来如何恐怖的灾变！ 且看素还真如何在刜伐世界将谱出壮阔绚烂的奇幻史诗。
5.0 国语 · 2020 · 大陆 · 喜剧片
王宁,施予斐,王戈,买红妹,董立范,王双宝,盛子铭
管大伟（王宁 饰）是一个生长在城中村的小青年，毕业后的他也曾去大城市打拼，但最终他还是选择留在家乡靠收取房租过最平凡的生活。而与他青梅竹马的女朋友唐梓然（施予斐 饰）凭借自己姣好的外形成为了令人羡慕的空姐，因此两人生活轨迹的交集越来越来少...... 某个星期天的清晨，管大伟醒来发现自己进入了神奇的时空循环。在这段奇妙的循环中，管大伟得到了巨额财富，彻底过了一把土豪瘾。而在他“潇洒度日”的同时，他的初恋女友唐梓然却陷入了一场突如其来的空难危机。管大伟突然发现，只有进入时空循环的自己能够帮助唐梓然摆脱危机，同时拯救飞机上所有人的生命。是选择“潇洒度日”“继续享乐”，还是牺牲小我，拯救众人。对于即将来临的明天，此时的管大伟该何去何从？
6.0 国语 · 2017 · 大陆 · 喜剧片
艾伦,林佳陵,黄妮娜,郭祥鹏,陈姝,苗驰,纪阳木
该片剧情主要讲述了一个现代花花公子楚留香每天周旋于多个情人之间，某天意外被情人们发现后将他扔下悬崖，等他醒来时发现自己竟离奇穿越到古代，并且被将军府千金杜鹃儿带回去做家丁，而更加不可思议的是，他发现杜鹃儿竟然也是从现代穿越来的，随后两人就发生了一段“山路十八弯，荡气回肠”的另类穿越爱情故事。
5.0 其它 · 2016 · 其它 · 喜剧片
Peri Baumeister,David Schütter,Marc Benjamin,Cro,蒂尔·施威格,Sahin Eryilmaz,詹妮特·海因,比亚内·梅德尔,沃坦·维尔克·默林,安雅·克林,蒂姆·维尔德,奥斯卡·奥尔特加·桑切斯,Nikolaus Okonkwo,萨缪尔·芬齐,艾米利亚·舒勒
Dawid, Vanessa and Ludwig are the finalists at a pitch-competition for a movie about the German Rap phenomenon CRO. As the three youngsters work out their extraordinary film ideas, they must fight through unexpected personal challenges.
8.0 日语 · 1997 · 日本 · 喜剧片
西村雅彦,铃木京香,唐泽寿明,户田惠子,井上顺,细川俊之,奥贯薫,梶原善,茂吕师冈,近藤芳正,布施明,藤村俊二,并木史郎,田口浩正,梅野泰靖,渡边谦
某电台举办广播剧剧本征选大赛，结果只有普通家庭主妇铃木美弥子（铃木京香 饰）一部作品提交并入选。该故事讲述的是热海一名主妇与渔夫的纯爱故事。午夜将近，直播在即。节目统筹牛岛龙彦（西村雅彦 饰）莅临现场，协调各个部门的运作。然而在这高度紧张的关键时刻，各种状况层出不穷。高傲的女演员千本信子（户田惠子 饰）任性地将女主角“律子”的名字改成“玛丽·简”，演对手戏的男演员滨村錠（細川俊之 饰）也不甘于“寅造”这一土了土气的名字。为了与这番洋范儿相匹配，牛岛只得拜托铃木改写故事背景。随着各种各样无理改动的出炉，这出纯爱广播剧早已看不出原来的样子…… 本片为名编剧三谷幸喜的导演处女作。