2019 film directed by Luc Besson

Super-assassin John Wick returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn.

Every night, in danger of being beheaded, Scheherazade tells King Shahryar unfinished tales to continue them the following night, hence defying his promise of murdering his new wives after their wedding night. Scheherazade tells King Shahryar her stories but these are not those in the book. As in the book, these stories are tragic and comical, with rich and poor, powerless and powerful people, filled with surprising and extraordinary events.

2018 film

靠着多年后重见天日的一批录音带 为您带来一部“实话实说”“毫无避讳”的私人谈话录 在天才导演奥逊·威尔斯的餐桌旁 听他“爆炒”好莱坞、抖漏历史秘闻、挤兑政坛要人 与美国“伟大的文化领域煽动者”共进午餐 ...................... ※编辑推荐※ 奥逊·威 尔斯，集演员、导演、编剧、制片人等多种角色于一身的电影天才，被誉为“现代电影界的莎士比亚”。他26岁拍出的处女作《公民凯恩》，技巧变化宛如百科全书般渊博，名列影史经典榜首，令无数后人仰望——这远远胜过任何荣誉。他的一生也像一部传奇，在政治上极其活跃，曾积极帮助罗斯福竞选总统并拥护其新政政策。奥逊·威尔斯是美国历史上一位罕见的具有重要文化意义的电影家。迄今为止，所有从事严肃电影事业的导演、演员，恐怕仍然不敢正视这位空前绝后的“巨人”。 ☆ 本书整理自奥逊·威尔斯挚友尘封已久、首次披露的私藏录音文件。作为“仅凭广播剧配音就让全美陷入恐慌” “靠26岁自编自导自演的处女作稳坐影史十佳之冠” “美国电影、戏剧界段子王”的讲故事的天才，晚年的他却艰难筹资、无片可开，本书记录了他在人生的最后三年，回忆生命中经历的事、经历的人所说的心里话。 ☆ 谈话中，威尔斯倾吐了他的“愤怒之言” “无奈之言”“吐槽之言” “天真之言”。无论是影史名导、名作、明星、好莱坞寡头，还是各国总统、部长，无论是威尔斯的敌人，还是威尔斯的亲友，一个都不落下。“神段子”“金句”铺天盖地席卷而来。 ☆ 威尔斯的观点常常显得惊世骇俗又自圆其说，并不在意“政治正确”，从种族主义、性别歧视、外貌歧视、身高歧视，到自由主义、民族主义，各路话题直言不讳。 ☆ 书中附有雅格洛独家提供的威尔斯晚年片场照、合影，以及威尔斯破例同意、雅格洛绘制的铅笔画像。 ☆ 非常值得一口气读完！ ...................... ※内容简介※ 长久以来，坊间一直传说，不知何处存有一批录音带，里头记录了奥逊·威尔斯骤然去世前与好友共进午餐时的私人谈话。事实证明，这批磁带确实存在，一直在某间车库里放着积灰。究竟磁带里录了些什么，本书将做首度披露。 这是我们从不曾见过的威尔斯：说着心里话，泄露个人的隐秘，回顾从以天才之姿入行到被好莱坞扼杀的职业生涯起落，还有那些他的旧相识——罗斯福、丘吉尔、卓别林、玛琳·黛德丽、劳伦斯·奥利弗、大卫·塞尔兹尼克、丽塔·海华丝等等——以及自己人生暮年的诸般失落。这是一位伟大导演轻松不设防的时刻，他可以随心所欲地桀骜不恭，甚至有时候还更进一步——表现出了性别歧视、同性恋歧视、种族歧视又或是上述歧视浑然皆无。因为，说穿了他就是个编故事的人，是个煽动家。他的话题从政治到文学，从友人的缺点到那些他仍渴望能开拍的电影，不论谈什么，他都能做到愤世嫉俗却又罗曼蒂克，多愁善感但又常常低俗。不过，只要他一开口，那就绝不会让人觉得无聊，总能让人觉得坏得有趣。 经由彼得·比斯金德的精心编订，本书所展现的，是一位20世纪的巨人。内心被苦涩与愤懑填满，虽身处逆境却犹不放弃，仍拼命追逐生命中最后一次的辉煌，浑身迸发出难以抑制的才思与智慧。真正的威尔斯究竟是什么样的？倘若这命题真的成立，那么最有可能回答它的，便是这本《与奥逊·威尔斯共进午餐》。 ...................... ※名人推荐※ “从历史的角度而言，每一位当导演的，当然包括我自己，都不可避免地会被拿来和作为电影人的奥逊·威尔斯一较高下；但这还不算，因为现在我们又得和作为编段子高手、说故事行家的奥逊·威尔斯一较高下了；此人知识之广博、经历之丰富，可能在这一行里再也无人能够企及。好在，不管是谈什么，他的雄辩强据总能做到一针见血、予人启发、骇人听闻、粗鲁无礼、风趣幽默、实话实说这些特点或具其一，或干脆同时都有。这本书我是一口气看完的，我也想象不出还有什么人看了一半能把它给放下的。” ——史蒂文·索德伯格（Steven Soderbergh），导演代表作有《性、谎言和录像带》 “以后再谈到奥逊·威尔斯时，必须再给他多加一行形容词。通过这本值得称道的对话录，我们发现了一位“语不惊人死不休”的奥逊·威尔斯，只要一张嘴，谈起那些他宣称自己曾打过交道、有过合作、出过力效过劳、一起上过床的男男女女，那些曾经讨好过和背叛过他的人，那些在他长达半世纪的演艺生涯中或欣赏或憎恶（两件事常常同时发生）的人，威尔斯总能说出些好笑到伤天害理、固执到无法无天而且又不落俗套的话。看这本书的时候，我都笑得发哮喘了。” ——戴维·纳沙（David Nasaw），著有The Patriarch等书 “亲近传奇人物的机会不常有，可阅读这本书的过程，就像是遇上一位传奇人物，在他人生最后的岁月里，每星期都能与他共进午餐。奥逊·威尔斯与亨利·雅格洛的对话，处处透着回忆、智慧与怨恨。而最重要的还是，从中我们可以见到一幕自我扮演的好戏：由奥逊·威尔斯饰演奥逊·威尔斯。” ——迈克尔·伍德（Michael Wood），著有《电影超简史》等书 ...................... ※媒体推荐※ “非常有意思，让人欲罢不能！” ——《名利场》（Vanity Fair） “威尔斯显然在这些看不见的录音中敞开了话头。这本书挖到了古典好莱坞时代的许多八卦，但它的价值又远不止茶余饭后的消遣，因为它最珍贵的地方在于，它是威尔斯这位艺术家的一幅‘画像’，记录了威尔斯广博丰富的所思所想。实际上，本书是理解威尔斯导演观念、个人思想的重要资源。” ——理查德·布罗迪（Richard Brody），《纽约客》（The New Yorker） “《与奥逊·威尔斯共进午餐》让我们得以亲临一种特别的历史文化现场。威尔斯的博学会刺激你打开电脑，一边读，一边上网重看书中提到的相关电影，看看威尔斯自己的作品，或者他不吝美言力捧的巴斯特·基顿、卡罗尔·隆巴德的作品。” ——《基督教科学箴言报》（The Christian Science Monitor） “太棒了！终于能轻松窥见威尔斯脑子里在想什么了！书中充满了辛辣的言论，所论话题包括电影、戏剧、导演、演员、政治以及讲故事的核心原则。《与奥逊·威尔斯共进午餐》可能是这位讲故事领域的巨巨最后最伟大的作品！” ——Indiewire “当亨利·雅格洛寄书给我，打开前，我曾一度怀疑这本书是否真的有趣。结果，我上钩了。我们的天才威尔斯嘴太毒了，有时候还挺烦人的，他在书中的观点是如此直白，不加掩饰。你在阅读的时候几乎能听到餐馆里银餐具叮当作响，服务员端来午饭，理查德·伯顿路过打招呼的声音。” ——小拉尔夫·加德纳（Ralph Gardner Jr. ）,《华尔街日报》（The Wall Street Journal）

In November 1918, a few days before the Armistice, when Lieutenant Pradelle orders a senseless attack, he causes a useless disaster; but his outrageous act also binds the lives of two soldiers who have nothing more in common than the battlefield: Édouard saves Albert, although at a high cost. They become companions in misfortune who will attempt to survive in a changing world. Pradelle, in his own way, does the same.

Tom Ripley is a calculating young man who believes it's better to be a fake somebody than a real nobody. Opportunity knocks in the form of a wealthy U.S. shipbuilder who hires Tom to travel to Italy to bring back his playboy son, Dickie. Ripley worms his way into the idyllic lives of Dickie and his girlfriend, plunging into a daring scheme of duplicity, lies and murder.

In 2027, in a chaotic world in which humans can no longer procreate, a former activist agrees to help transport a miraculously pregnant woman to a sanctuary at sea, where her child's birth may help scientists save the future of humankind.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

A lesbian in the 1800s who keeps a detailed account of her life written in coded diaries attempts to live independently while juggling an affair with a married woman.

2017 film by Sylvia Chang

1998 film directed by Todd Haynes

Siblings Wednesday and Pugsley Addams will stop at nothing to get rid of Pubert, the new baby boy adored by parents Gomez and Morticia. Things go from bad to worse when the new "black widow" nanny, Debbie Jellinsky, launches her plan to add Fester to her collection of dead husbands.

When a man claiming to be long-lost Uncle Fester reappears after 25 years lost, the family plans a celebration to wake the dead. But the kids barely have time to warm up the electric chair before Morticia begins to suspect Fester is fraud when he can't recall any of the details of Fester's life.

After running away from his negligent parents, committing a violent crime and being sentenced to five years in jail, a hardened, streetwise 12-year-old Lebanese boy sues his parents in protest of the life they have given him.

After the devastating events of Avengers: Infinity War, the universe is in ruins due to the efforts of the Mad Titan, Thanos. With the help of remaining allies, the Avengers must assemble once more in order to undo Thanos' actions and restore order to the universe once and for all, no matter what consequences may be in store.

1995 film by Tsui Hark

He was a wisecracking World War II vet. She was an orphan, his kid sister’s best friend. Harold and Lillian eloped to Hollywood, where they became the film industry’s secret weapons. Nobody talked about them, but everybody wanted them. Theirs is the greatest story never told—until now. Academy Award–nominated director Daniel Raim presents HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY, a fascinating and deeply moving account of the romantic and creative partnership between storyboard artist Harold Michelson (1920–2007) and his wife, film researcher Lillian Michelson (b. 1928)—a talented and generous couple once considered to be the heart of the industry. For sixty tumultuous years, Harold and Lillian weathered personal and professional setbacks while working on hundreds of films, many of them now classics, including The Ten Commandments, The Apartment, The Birds, Who’s Afraid Of Virginia Woolf?, The Graduate, Rosemary’s Baby, Fiddler On The Roof, Star Trek: The Motion Picture, Scarface, Full Metal Jacket. Although the couple was responsible for some of Hollywood’s most iconic examples of visual storytelling, their contributions remain largely uncredited. Through an engaging mix of love letters, interviews (including candid conversations with Harold and Lillian, Danny DeVito, and Francis Coppola) and film clips, home movies, and rare production art, HAROLD AND LILLIAN lovingly chronicles a remarkable relationship and two extraordinary careers spanning six decades of movie-making history.

我们合上双眼睡觉之后，就会来到一个叫做“梦境”的世界，就是“梦之王”（汤姆·斯图里奇 饰）建构人们内心恐惧和幻想的地方。但自从梦之王意外被掳走并禁锢了一个世纪，他的消失引发了一连串风波，将彻底改变梦境和人世。为了恢复秩序，梦之王必须游走两个世界，穿越时空，以纠正他长久以 来的种种错失。他一路上重新审视与昔日敌友的关系，还会遇上素昧平生的宇宙神祇和凡人。 《睡魔》改编自尼尔·盖曼所著的获奖热门DC漫画系列，由角色主导的11个史诗式章节情节丰富，神秘与黑暗幻想交织，深刻描绘梦之王的各个历险。本剧由尼尔·盖曼与节目统筹 艾伦·海因伯格及大卫·S·高耶联手开发及监制。