备注：已完结
类型：纪录片
主演：艾米·爱伦 Cristala Allen Gina Allen Wil
导演：Will Allen
语言：英语
年代：未知
简介： 在加州的一个邪教团体领导者惊人的真相被公之于众后，一名前成员讲述他在这个组织里从理想主义到觉醒的经过。
备注：已完结
类型：纪录片
主演：凯瑟琳·基纳
语言：英语
年代：未知
简介： 讲述一只初为熊母的北极熊带孩子的故事，在这个挑战日益艰难的世界中，年幼时的记忆帮助如今的它做好当母亲的准备，每一天都是新的冒险。
备注：已完结
类型：科幻片
主演：贝拉·卢戈西
语言：英语
年代：未知
简介： Larry Talbot chips Frankenstein's monster out of a block of ice. When Talbot changes to the Wolf Man, the two creatures do battle.
备注：已完结
类型：喜剧片
主演：Rumer Willis Haylie Duff Jonathan B
语言：其它
年代：未知
简介： 洛杉磯是個繁華的城市，人們追求速食愛情，黛兒經歷多段失敗的感情後來到這，因為她暫時不想需要負責任的長久關係。 某日偶然遇見舊情人查克後又跟他發展了一段曖昧關係，但這次有黛兒的好友海莉的介入.....吉兒與男友即將結婚，看似美好的訂婚其實是吉兒一廂情願，男方根本還沒準備好。貝卡為了她的洛杉磯明星夢努力。 大都市中各種自我追尋，她們能夠找到真愛嗎？
备注：已完结
类型：欧美综艺
主演：Neil Oliver Philip Crummy Barry Cun
导演：Paul King Arif Nurmohamed Dick Taylor Jeff Wilkinson
语言：英语
年代：未知
简介： Neil Oliver returns to continue his epic story of how Britain and its people came to be, from the height of the Bronze Age through to the age of Iron, the Celts and the first kings to the age of Rome. Part 1: Age of Iron Part 2: Age of Warriors Part 3: Age of Invasion Part 4: Age of Romans
备注：已完结
类型：剧情片
主演：Floralba Achicanoy Joghis Seudin Ar
导演：William Vega
语言：其它
年代：未知
简介： 2012坎城影展/2012土魯斯影展最佳影片/2012利馬拉美影展最佳攝影、評審團特別獎， 全片运用诗意缓慢的镜头语言来捕捉苍凉的世界尽头，幽微的景物无声地控诉战火的残酷 受戰火波及無家可歸的少女到人煙稀少的湖畔投靠伯父，在近乎遺世獨立的荒地上，女孩默默地幫忙修繕伯父無人來訪的民宿，試圖找回生命的步調。暮光中，年輕船夫向女孩提出遠走天涯的邀約；夜色裡，伯父的眼光窺視著女孩身軀，在這看似寧靜無事的世界盡頭，曖昧情愫潺潺流動。一切卻在伯父離家多年的兒子歸來後，平靜的表象開始漸漸破滅崩壞。 全片運用詩意緩慢的鏡頭語言來捕捉蒼涼的世界盡頭，幽微的景物無聲地控訴戰火的殘酷，哥倫比亞境內的印第安原住民不僅面臨文化失傳的難題，擁有一片能夠安身立命的淨土更是遙遠的夢想。印第安民族關於村落、神祇、英雄們的神話與傳說，幾個世紀以來經由口述的方式，流傳在座落於安地斯山脈周邊的寧謐湖泊，而這些迷人的拉美湖泊正是導演威廉維加創作這個故事的靈感起源。《薄霧微光》是他為長年歷經內戰、飽受苦難的族人們所譜寫的生命之詩。
备注：已完结
类型：剧情片
主演：Anna Neagle Anton Walbrook C. Aubre
语言：英语
年代：未知
简介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
