同闯歌坛

　　并州发生鼠患，监狱坍塌，狄仁杰临危受命。大量村民因为鼠患而染病，被困城中。狄仁杰为了挽救全城百姓的性命，追查病源，然而随着调查的深入，原来鼠灾背后竟然还隐藏着一个巨大的阴谋。

　　Y.是一位40多岁的以色列导演，他来到沙漠尽头的一个偏远村庄，想要展示他的一部电影。在那里，他遇到了文化部官员Yahalom，并发现自己正在打两场失败的战斗：一场是反对他的国家对于自由的消亡，另一场则是反抗他母亲的死亡。

靠打零工在城市里艰难生活的小周遇到了迷路的阿玉，小周跟踪阿玉并偷走阿玉的钱包后被一群流氓打伤倒在路边。同样生活艰难的小华今天被炒了鱿鱼，回家路上遇到倒在路边的小周，便将小周带回了家，细心照料。三个陌生人因此产生了联系，在熟悉又陌生的城市中，他们的人生正在悄悄的发生着转变。 《你好！再见》2018年获第十届美国国际独立电影节IndieFEST Film Award剧情类长片成就奖、导演成就奖、男主角成就奖；入围意大利PRISMA独立电影节；美国Festigious国际电影节终评最佳影片奖提名。

　　二十世纪初，埃贡•席勒是维也纳最受争议的艺术家之一。他的生活与作品常受美丽女子及其所生活的行将末路的时代所驱动。其中两个女人对他产生持续影响——他的妹妹葛尔蒂是他的首位缪斯，而十七岁的瓦莉也逐渐成为其真爱，并在代表作《死神与少女》中留下永恒身影。席勒的极端绘画成为维也纳的丑闻，但诸如古斯塔夫•克里姆特等大胆的艺术家和艺术商却领略到其中的不寻常之处。然而，席勒也准备好翻越自己的痛苦，为艺术牺牲爱情与生命。（小易甫字幕组）

　　年轻指挥家亚德里安（奎姆·古铁雷兹 Quim Gutiérrez 饰）的女友贝伦（克拉拉·拉戈 Clara Lago饰）失踪了，活不见人死不见尸，只留下一段视频讯息。郁闷的亚德里安不断被警察怀疑和调查，烦不胜烦之下到小酒馆浇愁，一不小心喝的大醉，受到女招待法比安娜（玛蒂娜·加西亚 Martina García）照顾，两人迅速陷入新的恋情。很快，法比安娜住进亚德里安的大宅，敏感的她时时感到房子里面不对劲，浴室里面好像总有奇怪的声音，亚德里安对此不以为意，但法比安娜开始时时留心，还一度怀疑是他前女友的鬼魂作祟。一天，在卧室更衣的法比安娜拾到一把古怪的钥匙，似乎接近了一个天大的秘密……

　　The film is about the early years of famed children’s author Astrid Lindgren (Pippi Longstocking) when she experienced something that was a “combination of both miracle and calamity that came to shape her entire life.”

　　湘西荒山里的落花村，以前是出了名的赶尸村，明清时期村里出了个著名的赶尸先生“齐大师”，在全国等地都曾有分铺，专门负责赶尸回乡。齐大师死后，后人经历了战乱，失去了这门本事。对巫文化有着浓厚兴趣的秦教授，带着学生来到湘西落花村研究“湘西赶尸术”。落花村发生了离奇古怪的事情，灵堂尸体躯干凭空消失。这场研究巫文化的旅途充满波折，各种灵异事件频频发生。在人性与欲望的博弈交织中，落花村隐藏的秘密逐渐浮出水面，迫害村民，将他人命运玩弄于手掌间的阴险之人得到惩治，落花村重归太平。

　　住在印度乡村的少女发现自己热爱滑板，人生从此发生改变。为了追逐滑板竞赛梦，她将踏上一条挑战重重的道路。

　　艾维（叶玉卿 饰）是一位小有名气的外科医生，有一个相恋多年的同行兼男友李（林韦辰 饰），两人感情十分稳定。一次偶然中，艾维意外撞见了李与自己闺蜜之间的奸情，大受打击的艾维决定远赴澳门散心。
　　医院接收了一位名叫阿龙（任达华 饰）的重伤病人，好不容易苏醒的阿龙发现自己失去了 记忆。就是这样一个过往一片空白的男人，他与艾维意外的相遇了。随着时间的推移，阿龙和艾维之间的距离越来越近，感情迅速升温难舍难分，可是，艾维明白，自己终将回到香港，回到岗位之上，情深意重的阿龙决定追随。阿龙忘记了过去，但过去却并不愿意放过阿龙，紧随其后的，是邪恶而又猖狂的黑帮分子。

　　心高气傲的年轻女子曹俐（秦海璐饰）本想一探外面的世界，一路从深圳打拼到光鲜亮丽的大都市上海。背井离乡的曹俐，努力逃离她失败的婚姻和生意经营的失败。然而她却仍生活在社会的最底层。她与中年妇女谢琴（唐群饰）合租在两平米不到的简陋小房内，每日疲于奔命地打工挣钱。同乡狗哥骗来一辆旧巴士，邀曹俐入伙推销阜阳返乡车票，哄骗二十八个阿姨乘车返乡。虽然离上海老家只有六百里，但她依旧不敢踏上回家的路。
　　本部仅用18天就拍摄完成、低成本制作的影片《到阜阳六百里》，用一个冥冥中自有注定的安排，结合了一连串看似善意的骗局，讲述了一段欺骗中常存温暖的回家故事。本片不仅入围2011年第48届台湾电影金马奖最佳剧情片提名，荣获第48届台湾电影金马奖最佳原著剧本、最佳女配角大奖，导演邓勇星更凭借此片获得第14届上海国际电影节亚洲新人奖的最佳导演，主演秦海璐荣获第18届北京大学生电影节和第13届华语电影传媒大奖双料最佳女主角大奖。

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. 

　　一夜之间失业的韩正宇，用完美女装的身份“韩正美”成功再就业后发生的故事。