午夜天使

荷蘭人

 Set on a New York subway, The Dutchman centers on an encounter between a well-to-do Black man and an enchanting white woman who match wits in a sexualized game of cat and mouse that leads to a violent conclusion.

最佳拍檔

　　飛賊黑貓（許冠杰 飾）搶奪國(guó)際犯罪組織的鉆石后借助多種工具溜之大吉，黑貓?jiān)诂F(xiàn)場(chǎng)遺留的白手套讓香港警方誤認(rèn)為作案者是國(guó)際大盜“白手套”，警方請(qǐng)到追捕白手套多年的美國(guó)光頭神探（麥嘉 飾）查案，并派出干練女警何東詩(shī)（張艾嘉 飾）協(xié)助。另一方面，鉆石主人——意大利黑幫要求白手套正身抵港取回鉆石。　　光頭神探與黑貓不打不相識(shí)，威逼利誘之下，黑貓決定協(xié)助神探拿獲白手套。三人小組為找回遺失的鉆石盲打誤撞惹來(lái)連串麻煩，黑貓終于拿到鉆石之際，潛伏的白手套也同時(shí)出現(xiàn)了……

飛越瘋?cè)嗽?/h3>杰克·尼科爾森,路易絲·弗萊徹,威廉·雷德菲爾德,克里斯托弗·洛伊德,威爾·薩姆森,特德·馬克蘭德,布拉德·道里夫,斯加特曼·克羅索斯,邁克爾·貝里曼,彼得·布羅科,穆瓦科·卡姆布卡,威廉·達(dá)爾,喬西普·艾利克,西德尼·拉斯克,凱·李,德懷特·馬費(fèi)爾德,路易莎·莫里茨,丹尼·德維托,菲利普·羅斯,米米·薩奇席恩,文森特·斯卡維利,米斯·斯馬爾,德羅斯·V·史密斯

 麥克墨菲（杰克·尼科爾森 Jack Nicholson 飾）為了逃避監(jiān)獄里的強(qiáng)制勞動(dòng)，裝作精神異常，被送進(jìn)了精神病院，他的到來(lái)，給死氣沉沉的精神病院帶來(lái)了劇烈的沖擊。 麥克要求看棒球比賽的電視轉(zhuǎn)播，挑戰(zhàn)了醫(yī)院嚴(yán)格的管理制度，受到護(hù)士長(zhǎng)拉契特（路易絲·弗萊徹 Louise Fletcher 飾）的百般阻撓；麥克帶領(lǐng)病人出海捕魚(yú)，振奮了他們的精神，卻讓院方頭痛不已。院方為了懲處麥克膽大妄為、屢犯院規(guī)，決定將他永遠(yuǎn)留在瘋?cè)嗽骸Ｉ宰杂傻柠溈嗽僖矡o(wú)法忍受瘋?cè)嗽旱纳睿?lián)合病友，高大的印第安人“酋長(zhǎng)”，開(kāi)始自己的計(jì)劃：飛越瘋?cè)嗽骸?本片獲1975年第48屆奧斯卡最佳影片，最佳男、女主角，最佳導(dǎo)演和最佳改編劇本五項(xiàng)大獎(jiǎng)。主人公“不自由，毋寧死”的精神在當(dāng)今社會(huì)仍有很大的現(xiàn)實(shí)意義。

奸人本色

　　劉父半生積蓄被奸商所騙，更在法庭敗訴，郁郁而終，死前托女兒小云找奸人家族報(bào)仇。奸人家族一早不值奸商所為，設(shè)下以奸治奸的圈套，不料簡(jiǎn)仁與簡(jiǎn)貴為爭(zhēng)小云歡心，被奸商利用……

公寓2024

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.