乔治亚时期英格兰，达什伍德先生去世后，遗孀与三名女儿失去庄园继承权，被迫迁居乡间简陋房屋。长女埃莉诺与次女玛丽安在拮据处境与社会压力下各自面对求婚、心碎与对真爱的探寻。 该片改编自简·奥斯汀1811年同名经典名著。

Paralysed from the waist down after a car crash, Julie Hill struggles to get used to her disability and to save her marriage. It looks as if her husband will leave her. Then doctors try a revolutionary treatment which feeds electrical impulses to her leg muscles - allowing her to ride a bicycle once again and so go out for bike rides with her family. Her marriage survives and she and her husband end up closer together than before.

Convinced that a museum art sculpture is misaligned, a determined tourist challenges the gallery’s security protocols in an attempt to adjust the positioning of the central piece.

A conceptual art project exploring poetry in an alternative, modern way. Similar to a collection of short stories this project assembles a series of video clips - each one entering the distinctive universe of a poem. Seven poems told in seven unique ways.

In his last months alive a young man calls upon his four closest friends to make his existence infinite through the assembly of five key elements from his life.

Set in 18th-century Venice, the film follows the paths of two unlikely collaborators: a Venetian noble and a castrated singer from Calabria, both trying to succeed in the world of the opera.

An English teacher travels back in time to prevent the Kennedy assassination, but discovers he is attached to the life he has made in a bygone era.

An American girl, sent to the English countryside to stay with relatives, finds love and purpose while fighting for her survival as war envelops the world around her.

Two desperate men take jobs aboard an old fishing boat that mysteriously reappears after vanishing 30 years before. But when they return from their voyage, why is nothing as they remember it?

Based on a true story, during World War II, four Jewish brothers escape their Nazi-occupied homeland of West Belarus in Poland and join the Soviet partisans to combat the Nazis. The brothers begin the rescue of roughly 1,200 Jews still trapped in the ghettos of Poland.

加拿大才女萨拉·波莉将拍摄一部名为《与子赎罪》(& Sons，暂译)的剧情长片，这也是她四年来执导的首部影片。故事基于大卫·吉尔伯特撰写的同名畅销小说改编。讲述与世隔绝的美国作家，多年后面对他曾伤害过的朋友、儿子，挣扎于内心的过错无法自拔。

In the heat of the summer of 1976, drama teacher Vivienne fights sweltering heat and general teenage apathy to put on an end-of-term version of Shakespeare's The Tempest.

British TV serial

Act I A night in winter [Scene 1] Aston has invited Davies, a homeless man, into his apartment after rescuing him from a bar fight (7–9). Davies comments on the apartment and criticizes the fact that it is cluttered and badly kept. Aston attempts to find a pair of shoes for Davies but Davies rejects all the offers. Once he turns down a pair that doesn’t fit well enough and another that has the wrong colour laces. Early on, Davies reveals to Aston that his real name is not "Bernard Jenkins", his "assumed name", but really "Mac Davies" (19–20, 25). He claims that his papers validating this fact are in Sidcup and that he must and will return there to retrieve them just as soon as he has a good pair of shoes. Aston and Davies discuss where he will sleep and the problem of the "bucket" attached to the ceiling to catch dripping rain water from the leaky roof (20–21) and Davies "gets into bed" while "ASTON sits, poking his [electrical] plug (21). [Scene 2] The LIGHTS FADE OUT. Darkness. LIGHTS UP. Morning. (21) As Aston dresses for the day, Davies awakes with a start, and Aston informs Davies that he was kept up all night by Davies muttering in his sleep. Davies denies that he made any noise and blames the racket on the neighbors, revealing his fear of foreigners: "I tell you what, maybe it were them Blacks" (23). Aston informs Davies that he is going out but invites him to stay if he likes, indicating that he trusts him (23–24), something unexpected by Davies; for, as soon as Aston does leave the room (27), Davies begins rummaging through Aston's "stuff" (27–28) but he is interrupted when Mick, Aston’s brother, unexpectedly arrives, "moves upstage, silently," "slides across the room" and then suddenly "seizes Davies' "arm and forces it up his back," in response to which "DAVIES screams," and they engage in a minutely-choreographed struggle, which Mick wins (28–29), ending Act One with the "Curtain" line, "What's the game?" (29). Act II [Scene 1] A few seconds later Mick demands to know Davies' name, which the latter gives as "Jenkins" (30), interrogates him about how well he slept the night before (30), wonders whether or not Davies is actually "a foreigner"—to which Davies retorts that he "was" indeed (in Mick's phrase) "Born and bred in the British Isles" (33)—going on to accuse Davies of being "an old robber […] an old skate" who is "stinking the place out" (35), and spinning a verbal web full of banking jargon designed to confuse Davies, while stating, hyperbolically, that his brother Aston is "a number one decorator" (36), either an outright lie or self-deceptive wishful thinking on his part. Just as Mick reaches the climactic line of his diatribe geared to put the old tramp off balance—"Who do you bank with?" (36), Aston enters with a "bag" ostensibly for Davies, and the brothers debate how to fix the leaking roof and Davies interrupts to inject the more practical question: "What do you do . . . when that bucket's full?" (37) and Aston simply says, "Empty it" (37). The three battle over the "bag" that Aston has brought Davies, one of the most comic and often-cited Beckettian routines in the play (38–39). After Mick leaves, and Davies recognises him to be "a real joker, that lad" (40), they discuss Mick's work in "the building trade" and Davies ultimately discloses that the bag they have fought over and that he was so determined to hold on to "ain't my bag" at all (41). Aston offers Davies the job of Caretaker, (42–43), leading to Davies' various assorted animadversions about the dangers that he faces for "going under an assumed name" and possibly being found out by anyone who might "ring the bell called Caretaker" (44). [Scene 2] THE LIGHTS FADE TO BLACKOUT. THEN UP TO DIM LIGHT THROUGH THE WINDOW. A door bangs. Sound of a key in the door of the room. DAVIES enters, closes the door, and tries the light switch, on, off, on, off. It appears to Davies that "the damn light's gone now," but, it becomes clear that Mick has sneaked back into the room in the dark and removed the bulb; he starts up "the electrolux" and scares Davies almost witless before claiming "I was just doing some spring cleaning" and returning the bulb to its socket (45). After a discussion with Davies about the place being his "responsibility" and his ambitions to fix it up, Mick also offers Davies the job of "caretaker" (46–50), but pushes his luck with Mick when he observes negative things about Aston, like the idea that he "doesn't like work" or is "a bit of a funny bloke" for "Not liking work" (Davies' camouflage of what he really is referring to), leading Mick to observe that Davies is "getting hypocritical" and "too glib" (50), and they turn to the absurd details of "a small financial agreement" relating to Davies' possibly doing "a bit of caretaking" or "looking after the place" for Mick (51), and then back to the inevitable call for "references" and the perpetually-necessary trip to Sidcup to get Davies' identity "papers" (51–52). [Scene 3] Morning Davies wakes up and complains to Aston about how badly he slept. He blames various aspects of the apartment's set up. Aston suggests adjustments but Davies proves to be callous and inflexible. Aston tells the story of how he was checked into a mental hospital and given electric shock therapy, but when he tried to escape from the hospital he was shocked while standing, leaving him with permanent brain damage; he ends by saying, "I've often thought of going back and trying to find the man who did that to me. But I want to do something first. I want to build that shed out in the garden" (54–57). Critics regard Aston's monologue, the longest of the play, as the "climax" of the plot.[3] In dramaturgical terms, what follows is part of the plot's "falling action". Act III [Scene 1] Two weeks later [… ]Afternoon. Davies and Mick discuss the apartment. Mick relates "(ruminatively)" in great detail what he would do to redecorate it (60). When asked who "would live there," Mick's response "My brother and me" leads Davies to complain about Aston's inability to be social and just about every other aspect of Aston's behaviour (61–63). Though initially invited to be a "caretaker," first by Aston and then by Mick, he begins to ingratiate himself with Mick, who acts as if he were an unwitting accomplice in Davies' eventual conspiracy to take over and fix up the apartment without Aston's involvement (64) an outright betrayal of the brother who actually took him in and attempted to find his "belongings"; but just then Aston enters and gives Davies yet another pair of shoes which he grudgingly accepts, speaking of "going down to Sidcup" in order "to get" his "papers" again (65–66). [Scene 2] That night Davies brings up his plan when talking to Aston, whom he insults by throwing back in his face the details of his treatment in the mental institution (66–67), leading Aston, in a vast understatement, to respond: "I . . . I think it's about time you found somewhere else. I don't think we're hitting it off" (68). When finally threatened by Davies pointing a knife at him, Aston tells Davies to leave: "Get your stuff" (69). Davies, outraged, claims that Mick will take his side and kick Aston out instead and leaves in a fury, concluding (mistakenly): "Now I know who I can trust" (69). [Scene 3] Later Davies reenters with Mick explaining the fight that occurred earlier and complaining still more bitterly about Mick's brother, Aston (70–71). Eventually, Mick takes Aston's side, beginning with the observation "You get a bit out of your depth sometimes, don't you?" (71). Mick forces Davies to disclose that his "real name" is Davies and his "assumed name" is "Jenkins" and, after Davies calls Aston "nutty", Mick appears to take offense at what he terms Davies' "impertinent thing to say," concludes, "I'm compelled to pay you off for your caretaking work. Here's half a dollar," and stresses his need to turn back to his own "business" affairs (74). When Aston comes back into the apartment, the brothers face each other," "They look at each other. Both are smiling, faintly" (75). Using the excuse of having returned for his "pipe" (given to him earlier through the generosity of Aston), Davies turns to beg Aston to let him stay (75–77). But Aston rebuffs each of Davies' rationalisations of his past complaints (75–76). The play ends with a "Long silence" as Aston, who "remains still, his back to him [Davies], at the window, apparently unrelenting as he gazes at his garden and makes no response at all to Davies' futile plea, which is sprinkled with many dots (". . .") of elliptical hesitations (77–78).

2023 film by Sam H. Freeman and Ng Choon Ping

A young man is forced to confront an uninvited and ever-present narrator. A touching comedy about brotherly devotion, cinematic viewpoints and the necessity of growing up because, at some point, boobs sound cool.

An unspoken incident unravels the lives of two families into nightmare, fracturing time and memory.

15-year-old Jack is on a French Exchange trip with his school. But his mum won't stop ringing to check-up on him. On his last night, his host falls ill and Jack is forced to spend the last day of the trip with his French teacher; the sexy, chic, mysterious Camille. But she is due to endure a family lunch to celebrate her cantankerous father's birthday. Jack's young yet sophisticated philosophy charms Camille and as the day goes on they bond. Without realising, they help each other to overcome their parallel family problems, teaching Jack a few lessons along the way.

Following an act of violence committed by her own brother, Emma escapes with her mother to wild, open country, where they find refuge in an isolated retreat in the shadow of a nuclear power station.