Tells the story of Barbara Lisicki and Alan Holdsworth, two disabled cabaret artists who met in1989 and became the driving force behind Direct Action Network - whose protests pushed disability rights into the spotlight.

　　康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，但如今富裕,富足,殷实,丰裕的伦敦游客纷纷下山，取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧迫,焦虑,急迫,忧虑。马丁是一个没有船的渔夫，因为史蒂文起始,开端,肇始,启始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。
　　Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。
　　The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp.
　　Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

　　影片是对性、犯罪行为和艺术的一种深思，导演成就,胜利,凯旋,成果地将影象和绘画这两件生命中重要的元素呈现出来，丰富地刻画,描摹,勾勒,描述出意大利传奇画家的一生。
　　本片是一部传记体影片。英国的先锋派导演贾曼也是一名画家，他怀着对卡拉瓦乔这位伟大的艺术家的崇敬心理和对画家日常,生存,生计,日子的浓厚兴趣，拍了这部关于艺术家日常,生存,生计,日子片断的作品。本片的手法和题材不拘一格，从各角度都给人以新鲜感。本片获得1986年柏林国际电影节银熊奖，是英国1986年最卖座影片之一。

　　电影导演莎莉（莎莉·波特 Sally Potter 饰）在创作新剧本时遇到了灵感堵塞，她烦恼不已，却又无济于事。在观看一场激情肆意的探戈舞演出后，莎莉被深深感染，仿佛找到了一些灵感。她决心暂时抛下职业,事业,工作岗位,职责，起始,开端,肇始,启始求学,进修,研习,学业探戈舞。她去巴黎旅行遇上了有名的探戈舞者帕布罗，被他的舞蹈所吸引。于是提出让他在自己的下部电影里演出，以帕布罗教她跳舞作为交换条件。莎莉越来越沉迷于探戈舞，在与帕布罗求学,进修,研习,学业探戈的过程中，他们彼此爱上了对方。但来自不同文化背景的两人，性格有着极大的反差：来自南美的帕布罗有着强烈的控制欲，他习惯掌控选舞、音乐等一切细节，甚至包括与莎莉的爱情；而作为女性主义者的莎莉却是决心,打算,计划,准备帕布罗参与她的影片的关键人。两人之间的关系时而紧迫,焦虑,急迫,忧虑，时而悠然，一场爱情之战悄悄起始,开端,肇始,启始。

　　故事出现,产生,形成,酿成在一个名为迪斯科的异想世界之中。一年一度的Hogswatchnight即将到来，这是这个世界里最为盛大和隆重的一个节日。每逢此佳节到来，圣猪老爹（多米尼克·波雷里 Dominic Borrelli 饰）都会骑着野猪拉的雪橇，挨家挨户满足孩子们许下的愿望。然而这一次，圣猪老爹却似乎遇到了困扰,烦恼,烦忧,烦扰。
　　神秘组织派出了杀手Teatime（马克·沃伦 Marc Warren 饰）追杀圣猪老爹，因为后者的存在严重扰乱了这个循规蹈矩的世界的规律。Teatime绑架了牙仙（西妮德·马修斯 Sinead Matthews 饰），令所有孩子忘记了圣猪老爹的存在。在这个节骨眼上，死神（伊安·理查德森 Ian Richardson 饰）挺身而出接替了圣猪老爹的职业,事业,工作岗位,职责，与此同时，死神的孙女苏珊（米歇尔·道克瑞 Michelle Dockery 饰）也在奋斗,拼搏,奋进,进取的找寻着圣猪老爹的下落。

　　电影改编自真实历史事件。故事出现,产生,形成,酿成在十六世纪，国王亨利八世（罗伯特·肖 Robert Shaw 饰）爱上了名叫安妮（瓦妮莎·雷德格瑞夫 Vanessa Redgrave 饰）的女子，他想同王后离婚，却又碍于世俗道德的制约。亨利八世找到了大法官托马斯（保罗·斯科菲尔德 Paul Scofield 饰），他要求托马斯在离婚法令上签字，企图以托马斯的德高望重来减轻自己的负罪。
　　托马斯一生光明磊落，国王的无理要求令极富正义感的他十分困扰，因为他明白，拒绝国王的人注定不会有好下场。在内心良知的引导下，托马斯贯彻了自己的原则，他拒绝签字并辞去了官职，可即便如此，正派,正气,刚正,光明的他也最终未能逃脱死于非命的厄运。

　　The play tells the story of a young couple, Cathy (played by Carol White) and Reg (Ray Brooks). Initially their relationship flourishes and they have a child and move into a modern home. When Reg is injured and loses his well-paid job, they are evicted by bailiffs, and they face a life of poverty and unemployment, illegally squatting in empty houses and staying in shelters. Finally, Cathy has her children taken away by social services.

　　弗朗西斯（安·托德 Ann Todd 饰）自幼失去了父母沦为孤儿，被监护人尼克尔斯收养，两人过着相依为命的日常,生存,生计,日子。尼克尔斯在弗朗西斯的身上发现了极高的音乐天赋，于是送她去罗伊尔音乐学院深造。在那里，弗朗西斯邂逅了名为皮特的年轻人。尼克尔斯认为两人之间的这段感情会影响弗朗西斯的学业，于是将她带去了巴黎，很快，才华横溢的弗朗西斯就在巴黎获得了极高的声望，最终成为了红极一时的钢琴家。
　　回到伦敦之后，弗朗西斯遇见了画家马克斯维尔，两人很快就坠入了情网之中。占有欲极强的尼克尔斯当然反对这段感情，无奈之下，弗朗西斯决心,打算,计划,准备和恋人私奔。

　　妹妹苏西（Angharad Aubrey 饰）的死亡带给了乔伊（William Dix 饰）巨大的创伤，为此，他甚至接受了心理治疗。乔伊坚信，妹妹的死亡和家里的保姆（贝蒂·戴维斯 Bette Davis 饰）有关，可是家中没有人相信,坚信,深信,笃信他，就连乔伊的父母也觉得这只是乔伊的妄想而已。
　　某日，乔伊的妈妈,母亲大人,娘亲,老妈妈因为食物中毒被送往了医院，她的妹妹佩（吉儿·贝纳特 Jill Bennett 饰）来到乔伊家照看他，恰巧撞见了保姆想要用枕头闷死乔伊的一幕。佩患有心脏病，在病发时，保姆拒绝拿药给佩，眼睁睁的看着她挣扎在死亡线上。原来，保姆曾经有过一个私生子，但这个孩子不幸死去了，孩子的死给保姆的精神带来了严重的打击，才造成了这种种的悲剧。

　　Twenty years ago, old Mrs. Barlow was killed in her home at 12, Pimlico Square for her priceless rubies. The murderer searched the whole house without finding them, then disappeared. The house has been empty since then, but now Paul and Bella Mallen move into the apartment. Bella Mallen suffers from forgetfulness and nervousness - at least that is what her husband tells her. An elderly horse wrangler, B.G. Rough worked as a policeman twenty years ago and still remembers the unsolved case. He notices that Mr. Mallen looks just like Louis Barre, Mrs. Barlow's nephew. And why does Mr. Mallen so mysteriously leave every night just to go into the apartment next door, nr. 14?

　　Londoner Ronnie embarks on a journey to India when his mother, Suleka, goes missing and mysteriously ends up in a Kolkata hospital. Before Ronnie can unravel the mystery of what brought his mother back to her homeland, Suleka dies in an apparent cult killing. Further deaths point to a series of past murders that stopped 28 years ago when Suleka left India with her infant son. Until now.
　　As the darkness within Ronnie grows and the murders reach their peak, all roads lead to the feared witch of Kolkata's insane asylum.

　　美国人约翰-诺德利John Nordley是阿罗哈号The Aloha的船长，这是一艘停泊在英国贝茅斯港的帆船，他在这艘船上日常,生存,生计,日子并进行私人包租。他经常违反英国法律，把船开到他的清单上没有列出的其他国家。有一天，客户安塞姆先生Mr. Anselm找上门，要求在不列颠群岛的东边航行一周，但他一上船就要求航行到荷兰的Maasvlakte，并向诺德利保证不会有任何非法行为。但这个请求直接把他自己和诺德利带入深渊，以至于引来几路人马要获得诺德利与安塞姆的秘密，大家都在刻意接近诺德利，他必须决心,打算,计划,准备谁可以信任，谁不能信任。

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'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'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's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe'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. SHIMON@lounge.moviecodec.com

　　葛蕾絲是一名青少年舞者，她渴望,期望,盼望,企望透過進入卓越的古典芭蕾舞學院來獲得母親的認可，但甄試結果卻始終未能如願。某天，她意外與網路新崛起的混音編曲家佛雷瓦相識，不同於古典樂的奔放節奏，讓葛蕾絲跳著即興的舞步，更讓葛蕾絲在現代音樂中找到屬於自己真正的舞蹈熱情，佛雷瓦的經紀人將這段舞蹈畫面上傳到網路，網友引起瘋傳，直到這一切被葛蕾絲的母親發現了，面對眾人的反對與不解，葛蕾絲要如何向亲人,亲属,眷属,家属、好友甚至老師，爭取自己真正的想法與選擇…

凯蒂·佩里 (Katy Perry) 在本次年终特别节目中在伦敦威斯敏斯特中央大厅现场呈现了一场精彩的音乐和对话之夜。

　　MEDUSA DELUXE is a murder mystery set in a competitive hairdressing competition. Extravagance and excess collide, as the death of one of their own sows seeds of division in a community whose passion for hair verges on obsession.

　　When a broken hearted boy loses the treasured wooden nativity set that links him to his dead father, his worried mother persuades a lonely ill-tempered woodcarver to create a replacement, and to allow her son to watch him work on it. The commission takes their relationship to unexpected places as the young client makes greater and more difficult demands of the woodcarver's ability, and as Christmas approaches, the three struggle to come to terms with each other, their painful memories and the process of putting their unhappiness behind them.
　　Written by Anonymous

　　本片是部风格特异的现代浮世绘电影，导演林德赛．安德森手法前卫，某些片段具有高度讽刺性，但整体稍嫌松散冗长。不过片中由亚伦普赖斯创作的配乐非常优美动听，马尔科姆．麦克道尔、拉尔夫．理查森、雷切尔．罗伯茨等在片中的表演也很投入，对喜欢艺术电影的爱好者来说非常有吸引力。剧情叙述,阐述,陈述,描写一名见习推销员历经种种奇遇，最后成为一名国际性的资本家。

　　在远离人境的大森林里，卡丽和她做木工活的恋人日常,生存,生计,日子在一起。一天，来了一个叫塔克立的青年，被热衷于宗教的大人抚养长大的他，心灵非常脆弱。父母被杀害后，他独自一人逃到了森林。
　　卡丽同情他的不幸经历,碰到,遇到,邂逅，收留了他，但塔克立却被卡丽的美色所迷，心理平衡从此打破。
　　一句话评论
　　When your deepest desire becomes your worst nightmare...

　　故事出现,产生,形成,酿成在风景如画的西班牙巴塞罗纳。茱莉亚（凯特·贝金赛尔 Kate Beckinsale 饰）是一位修复名画的专家，十分热爱自己事业的她常常沉浸在古老绘画所刻画,描摹,勾勒,描述的场景之中。一次偶然中，茱莉亚得到了一副失传已久的名画，在修复名画的过程中，她意外的发现了一行被隐藏的文字。
　　这发现令茱莉亚确信这幅画中隐藏着一个秘密，她找到了名画的收藏家唐（迈克尔·高夫 Michael Gough 饰），哪知道唐竟然死于非命。之后，茱莉亚又找到了象棋高手多米尼克（Paudge Behan 饰），渴望,期望,盼望,企望多米尼克能够破解画中出现的象棋迷局，在此过程中，围绕着茱莉亚和名画，恐怖残忍的谋杀接连出现,产生,形成,酿成。

　　布丽姬（琳达•费奥伦蒂诺 Linda Fiorentino 饰）的丈夫是一名毒贩，不过她比她的丈夫更“毒”。她乘丈夫不留意的时候，将他贩毒所得的巨款洗掠一空，携款从美国繁华的纽约市跑到了西班牙巴塞罗那郊区的一个小镇上去享受她的欢乐,愉快,欢喜,欢乐,愉快,欣喜,喜悦,欢畅,喜悦,欣喜人生。布丽姬看上了当地天真无暇的帅哥康奥尼尔，同时，另一位金发美女也看上了康奥尼尔。老谋深算的布丽姬设下一个又一个的圈套牢牢套住了康奥尼尔，将情敌打得落花流水。看来布丽姬的人生将持续,延续,存续,连续在她的掌控中顺利展开。

　　在还是王子的时候，亨利五世（肯尼思·布拉纳 Kenneth Branagh 饰）过着非常奢靡的日常,生存,生计,日子，整日沉浸在声色犬马之中，完全不问朝政。然而，爸爸,父亲大人,爹爹,老父亲的死给亨利五世带来了极大的震撼，在爸爸,父亲大人,爹爹,老父亲的坟墓前，他痛定思痛，决心背负起身体一名国王的全部责任。
　　彼时，法军入侵英国，亨利五世带领着他的军队奋起反击，在情势极为不利的情况之下最终夺得了这场战役的最终胜利，这场伤亡惨重但精彩无比的战争被后世称为阿金库尔战役。在打败了法军之后，亨利五世也并没有对战败方赶尽杀绝，而是提出了英法政治联姻，迎娶了美丽的法国公主凯瑟琳（艾玛·汤普森 Emma Thompson 饰），成就了一段佳话。

　　「波兰六重奏」系列第五部，芝加哥太阳报影评人Roger Ebert四颗星最高评价，纽约时报盛讚本片是「影史上最好的流亡电影」。奥斯卡影帝杰瑞米艾朗以令人着迷的波兰腔英文及一贯压抑、内敛的高竿演技，传神诠释非法前往伦敦担任监工的谨慎男子，如何决意不让同乡工人知道波兰政治丕变的焦虑心境。
　　本片故事灵感来自史考利莫斯基装修伦敦住所的真实经历，于波兰戒严后一个月开拍，并在时代氛围中掺入些许他对于性执迷的个人关注。

　　故事出现,产生,形成,酿成在17世纪的英国，诗人约翰·威尔默特（约翰尼·德普 Johnny Depp 饰）以其满溢的才华和不羁的性格成为查尔斯二世（约翰·马尔科维奇 John Malkovich 饰）的宠臣。他古怪的行事风格遭人非议，还时常大写淫秽诗篇讽刺贵族的淫乱日常,生存,生计,日子，他天生不羁蔑视社会伦理，结识了特立独行的女演员伊丽莎白·巴里（萨曼莎·莫顿 Samantha Morton 饰）坠入爱河，又和男演员道恩斯（鲁珀特·佛兰德 Rupert Friend 饰）出现,产生,形成,酿成暧昧关系。但长期纵欲和酗酒，加之触怒皇室被多次流放，过度燃烧了诗人的生命，他起始,开端,肇始,启始饱受失明、关节炎、臆想症的困扰，最终证实身患梅毒，在33岁时黯然逝去。