永恒记忆

　　影片讲述创世之初，天降异兽，凡间各国将异兽们供奉为神，并借助异兽的神力治理国家。数百年后，供奉九头巨兽相柳为神的隐国为了抢夺供奉青龙为神的龙国的神兽之力，倾巢而出入侵龙国。龙国士兵项天在敌军压境的关键时刻临危受命，携护国神兽青龙回王城传递战报，并在龙国守护者家族凌家之女凌璇玑的指引下，不畏艰险重返边境战场，率领龙国士兵抵御隐国大军，守护龙国的故事。

　　约旦，1967年。世界巨变：对能源的争夺、新潮流、新音乐、对未来憧憬的蔓延。在约旦，不同的变化在悄然发生：巴勒斯坦成千上万的难民正跨越边境线到约旦寻求避难。11岁的Tarek与母亲在难民队伍中，而他的父亲则在战乱中被迫与家庭分开。他们和1948年就逃难至此的前一代难民一起被安置在难民营的活动帐篷中，等待可以重返家乡的那一天。难民营中的生活窘困，期待能够和爸爸重逢的Tarek想法离开难民营，并看到了希望。他对自由的向往和好奇的天性带领一群有着同样向往的人踏上了一段改变命运的旅程。

　　本片根据卢斯蒂格的小说《一个来自安特卫普的女孩》改编。
　　1973年，居住在纽约的捷克犹太作家威利·弗雷德知道儿子女朋友的母亲也曾被关押在奥斯维辛集中营，父子俩登门拜会，威利见到了苦寻三十年的集中营恋人科莱特·科恩，威利的记忆闸门再次被打开……
　　1943年7月威利被转押到奥斯维辛·比克瑙集中营，不久比利时犹太女孩科莱特也被火车送来。威利在火车站台上叮嘱刚下车的科莱特要自称缝纫工，这使得科莱特免遭进毒气室。后来科莱特被分配去检查犹太人衣物中藏匿的贵重物品；威利则利用送取衣物之机偷偷在营内传递食品和药物，共同的命运使两人很快相恋了…
　　比克瑙集中营司令官韦杰斯克凶残无比，动辄开枪杀人，任何违规行为都要当场处死，他也盯上了科莱特，软硬兼施占有了她…
　　1944年9月，随着苏军的逼近，纳粹加紧执行对犹太人的“最终解决方案” ，剩下的犹太人将被转到豪森集中营。这时，科莱特怀孕了。威利好容易找到藏在往外运木材车上逃跑的机会，就在一切安排妥当之时，科莱特却因被韦杰斯克缠住未能及时赶到，为了心爱的人，威利放弃了这次机会。
　　科莱特最终还是被押上了开往豪森集中营的火车，被解救后科莱特生下了韦杰斯克的女儿汉娜。
　　1945年1月，威利在被转押途中遇到苏军，韦杰斯克因仍枪杀逃跑的囚犯而被愤怒的囚犯打死。战后威利四处寻找科莱特无果…
　　剧中还描写了一批曾帮助过他俩的人：波兰医生大卫因知道科莱特怀孕而遭灭口；彪悍管理员弗里茨多次帮助威利；虽爱财但暗中帮助科莱特旳波兰女管理员布罗德因为帮科莱特搞到通行证被发现而被处死……

　　高中毕业后，以赛亚对未来没有任何规划，他受到激励，开始做出更好的人生决定。

　　丈（余文乐 饰）是香港深水区的一名放蛇警察，作为底层的警察，丈整日与一个难得见光的世界打交道，这里充斥着暴力、毒品，是社会阴暗的一个角落。要想在这里生存，丈不仅要学会如何做警察，更需要学习黑道的生存法则，渐渐地丈的身份越来越模糊，他生活在黑与白之间的灰色地带。Lulu（冼色丽 饰）是这一区的妓女，丈与之保持着来往，却始终没有将关系向前推进。一次意外，丈误杀小头目四眼堂（廖启智 饰），神秘杀手（樊少皇 饰）是唯一目击者，为了自保，丈和神秘杀手展开了一场追逐……杀手背后有怎样的秘密？丈是否能够逃过此劫？《青苔》为我们展现了社会阴暗处的小人物们如何似青苔一般生存。

　　网络时代的“人肉”技术，通常是娱乐大众的利器，但很不幸，它也可能成为一种杀人工具。
　　上市企业董事长秘书叶蓝秋（高圆圆 饰）在获知自己罹患癌症之后，心灰意冷的她上了一辆公交车，沉浸在惊愕与恐惧的她，拒绝给车上的老大爷让座，引起众议，这一过程被电视台实习记者杨佳琪（王珞丹 饰）用手机拍个正着。佳琪将公车上的新闻火速交给准嫂子陈若兮（姚晨 饰），凭着新闻主编的敏锐嗅觉，若兮将此新闻恶意放大，从而引发了一场社会大搜索，集体讨伐叶蓝秋的道德沦丧。在公众指责和病魔降临的夹缝中，叶蓝秋带着老板沈流舒（王学圻 饰）借给她的100万，彻底玩起了消失。岂料这更使她被冠以“小三”之名。若兮的摄影师男友无意中被卷入叶蓝秋的世界中，为了获得一笔高额报酬，他受雇陪伴在叶左右。而他却不曾想到，这竟是这个饱受指责的女人生命中最后一段时光。叶蓝秋的自杀，彻底颠覆了陈若兮的爱情与生活，也让所有人开始反思……

秀才王文在外出途中结识了青楼女子鸦头，两人情投意合，王文意外发现鸨母狐妖的身份，幸得鸦头相助，得以逃跑。之后，鸦头被鸨母掳走虐待，王文悲痛万分。多年后，王文携子王孜救出了鸦头，击败鸨母，一家人团聚。

 A decorated combat Veteran is court ordered into treatment when an ex-convict shows up on his doorstep and reveals that he must put himself back together again.

　　胡安妮塔受够了现在的生活，她离开已经长大的孩子，驱车上路寻找新的开始。

　　佐佐和小美是一对大学恋人，毕业后，两人因为爱情留在了同一个城市，没有生活琐碎的校园的爱情是纯洁而美好的。然而步入社会后，面对各种的生存和生活压力，两人的感情逐渐出现了不和谐的音符，分分合合，这段美好的初恋的最终结局将是如何……

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family__APOS__s history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it__APOS__s the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family__APOS__s world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe__APOS__s clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

农村孩子玉龙由于种种原因，逃学出走，李老师能否将他救赎挽回。