简介：仲夏夜之梦

简介：一直以来，尼基（丹尼尔·布鲁赫 Daniel Brühl 饰）和詹姆斯（克里斯·海姆斯沃斯 Chris Hemsworth 饰）都是针锋相对的死对头。尼基认真严肃，对赛车的职业十分尊重，詹姆斯喜欢铤而走险，将赛车作为自己寻花问柳的筹码，虽然两人有着截然不同的个性，但他们之间的较量却从未停止过。 为了改变自己不够成熟的性格，詹姆斯和偶然遇见的名模苏西（奥利维亚·王尔德 Olivia Wilde 饰）结婚了，尼基亦找到了自己的一生挚爱并且加入了法拉利车队，而此时生活已经走上了下坡路的詹姆斯则加入了麦克拉伦车队，一对冤家再次站在了人生的战场之上。一次比赛中，天降大雨，尼基出了车祸身受重伤，詹姆斯因此夺得了冠军。可是，尼基并没有因此而放弃，在极短的时间内，尽管受到了众人的制止，但他依然毅然地回到了赛场上。

简介：无夜不漫长

简介：疯狂汽车秀：启示录

简介：少女葛利叶（斯嘉丽•约翰逊 Scarlett Johansson 饰）家境贫寒，于是来到画家维梅尔（科林•费尔斯 Colin Firth 饰）家做女佣。维梅尔和妻子、岳母一起生活，她们常常摆出颐指气使的神情，妻子对正当青春的葛利叶更是戒心重重。在非常苛刻和压抑的氛围下，葛利叶在维梅尔家过得卑躬屈膝。 维梅尔的画带给了她一点生活的乐趣。她收拾主人画室的时候，流露出了对艺术的天分。她跟维梅尔谈论对画的理解，二人的交心让彼此的情意慢慢滋长。葛利叶知道不可能与维梅尔修得正果，但她愿意做模特奉献给维梅尔作画。她默默地，忍受着维梅尔给她的耳朵打上洞，戴上他妻子的珍珠耳环，画出这一刻的窒息的美丽。

简介：那些年一起听的歌

简介：瞒天计划

简介：暗杀者

简介：半轮黄日

简介：不明飞行物

简介：若规慎二（内野圣阳 饰）是生命保险公司下非正常死亡赔偿事务的调查员，某日若规应邀到客户菰田重德（西村雅彦 饰）家中做客，意外撞见菰田的继子和也上吊的自杀现场。事后菰田夫妇未表现出过多悲伤，反而不断催促若规索取赔偿金。 若规根据种种疑点推断和也绝非自杀，暗中展开调查。菰田夫妇则从最初的催促演变成恐吓，令若规疲惫不堪。最后经警方调查，认定和也确系自杀，菰田夫妇得到巨额赔偿。本以为事情告一段落的若规很快得知，菰田重德做工时不慎被切断双臂，其妻幸子（大竹しのぶ 大竹忍 饰）有很大嫌疑。若规重新介入其中，不曾想却陷入一个比想象的更为黑暗的漩涡之中……

简介：李尔王

简介：自由的代价

简介：本片由两个故事组成：一名英国下士在长官阵亡后担负起带领战友撤退的重任。另外，英国平民被号召起来营救被困的英法联军，有些人愿意，有些人不愿意……

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简介：布里切特·琼斯（蕾妮·泽尔维格 Renée Zellweger 饰）偶然邂逅了帅气的亿万富翁杰克（帕特里克·德姆西 Patrick Dempsey 饰），同时，与她有着复杂情史的达西先生（柯林·费尔斯 Colin Firth 饰）也重新回她的身边。两个完美男人同时闯入布里切特的生活，并且给她带来了一个巨大的“惊喜”，让她深陷甜蜜的烦恼之中。而布里切特的真命天子究竟是谁呢？

简介：故事发生在英格兰北部的纽卡斯尔，因为遭遇了次贷危机，瑞奇（克里斯·希钦 Kris Hitchen 饰）不仅丢掉了工作，还背负上了巨额的债务。为了维持生计，瑞奇贷款买了一辆小货车，准备靠送货来开启事业的第二春，哪知道他这一没有经过思考的举动给整个家庭都带来了无法挽回的伤害 。　　瑞奇的妻子艾比（黛比·哈尼伍德 Debbie Honeywood 饰）是一名家政工，专门为残疾人和老人服务，如今，她不得不依靠公交车往返于不同的雇主家中，这令她感到非常的疲惫。为了偿还货车的贷款，瑞奇不得不将更多的时间花费在工作上，这令他们的大儿子塞布（瑞斯·斯通 Rhys Stone 饰）感到备受冷落。

简介：◎简　　介　　以扣人心弦的笔法诉说身兼小偷、人质狭持者、精神病与游民等多重身份的男子史都华一生的故事。除了描绘他前科累累、放荡不羈的鲜活人生，也藉此带出了英国下层社会有关暴力、毒品、监狱与犯罪等令人震撼的面貌，以极度真实而又几近残酷的写实手法，刻画出史都华失败潦倒的一生。但令人惊喜的是，作者与史都华都未以悲伤或自怜的口气来诉说哀伤的生命片段，反而能以充满趣味的口吻娓娓道来，使得整本书在浓鬱的哀愁中，却洋溢著活泼生动的韵律，是这部作品最奇特、也最具吸引力的地方。　　获奖：2008年英国电影学院奖提名最佳男演员

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一系列看上去似乎毫无关联的犯罪事件从西藏延伸至印度再到德国。夏洛克·福尔摩斯已经离开两年了，但一些人不太确信他已经死了……

简介：洪水泛滥将低地吞噬，城市毁灭，恍若末世来临。天昏地暗之际，被命名为泽布的宝宝在混乱中降生。年轻夫妇小心呵护他们的新生儿，紧急开车前往北方山丘上家人的住屋避难。然而，安稳的日子稍纵即逝，物粮渐渐短缺，公婆与丈夫企图开车往外觅食，独留母子看家。一场不可挽回的悲剧，让年轻夫妻失散，迫使妻子独自抱着襁褓中的婴儿找寻漫漫出路。

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一名二战老兵逃离北爱尔兰的疗养院，踏上一趟前往法国参加诺曼底登陆75周年纪念活动的艰辛但鼓舞人心的旅程，并找到了面对过去阴影的勇气。

简介：Another of Mike Leigh's efforts in the Play for Today series. Home Sweet Home is the he tragic-comic tale of a lonely postman, the social workers who chivvy him about his estranged teenage daughter, and his secret affairs with the wives of his fellow postmen. "Though the social and economic situations of Leigh's characters are invariably specified, they are not determinative. In his view, institutions don't cause our problems and institutions cannot solve them. Nothing beyond the structure of our own thoughts and emotions can be blamed for our predicament and nothing outside of ourselves can remedy it. The poorest of Leigh's characters could win the lottery, or the richest be forced out onto the streets, without their basic dramatic problems changing. One only has to compare Ken Loach's Ladybird, Ladybird with Leigh's Home Sweet Home or his short, Probation, for the difference between the two viewpoints to be clear. Whereas Loach mounts an institutional critique, the social systems and bureaucracies in Leigh's work are only individuals writ large. Home Sweet Home dramatizes the relationship of two social workers, Dave and Melody, to a client, Stan, and his daughter Tina, but for Leigh the social workers are ultimately just messed-up people. One might say that while Loach looks at the effect, Leigh studies the cause. Loach studies bureaucracies; Leigh examines the individual qualities that make bureaucracies the way they are. The main characters in Ladybird, Ladybird are victims of a social agency's depersonalizing understandings. Leigh refuses to make Stan and Tina victims of anybody or anything. Home Sweet Home makes clear that, even if all of the social workers were to disappear from the universe, Stan and Tina's relationship would not improve one whit (and in fact would very likely get worse, since in the absence of a pushy, intrusive, boorish Melody, Tina would get no visits or trips home at all). There is an ultimate fairness in Leigh's view of life. We get what we are. Nothing is inflicted on us (just as nothing outside of ourselves can save us). We create our own problems and we ourselves must solve them. It would be hard to imagine a view of experience more at odds with the blame-games played by most cultural studies critics. Leigh's characters can never blame anything or anyone–least of all "the system." External forces (figured by ever fashionable ideological concepts like "power," "gender," and "class") have no ultimate authority over what we are. We are responsible for our own fates. The enemy, if there is an enemy, is inside. Odd as it may sound to say it, the writers on cultural studies and neo-Marxist filmmakers like Loach are actually more optimistic than Leigh, for while the social-work bureaucracy (Loach's target) may conceivably be reformed, the human heart and mind (Leigh's subjects) are all too deplorably (and exultantly) what they are for all eternity. I would argue that the institutional critique is in fact the simpler, more superficial, and more naive way of understanding these situations. The labyrinths of the human heart are far more tortuous and Byzantine than the corridors of power that constitute the welfare system. The bureaucracies of the imagination are far subtler and more insidious than those of any man-made institution. And if you say you don't see that or don't understand how that could possibly be, why that is precisely what a work like Home Sweet Home exists to show...." –Excerpted from Ray Carney, "The Films of Mike Leigh: Embracing the World "