介绍：玛丽是一名滥用药物的咨询师，酗酒成性她酒驾被抓，不得不接受父亲的邀请到尼亚加拉瀑布附近的家里与他同住。后来，玛丽渐渐发现父亲有很多事情瞒着她，玛丽还有个妹妹，却压根也不知道她的存在。这部影片有着清新、智慧的视角，既幽默又动人，是莫莉·麦格林第一次执导的作品。

介绍：阿龙与阿娟是重案组探员，他们在工作上由于性格，办案作风的不同，造成不少冲突阿娟是阿龙的上司，令龙在工作上苦不堪言，由于要缉拿极端残暴的头号通缉犯，重案组日夜守在通缉犯女友居所外，以期通缉犯出现。　　后阿龙设计结识通缉犯女友，以引蛇出洞。在与通缉犯周旋、斗智、斗勇的过程中，他们不惜用性命来保护对方。并最终将罪犯拘捕。

介绍：《我是你的月亮》剧情讲述了1913年两个相爱的女人，却注定不能在一起然后他们在2021年的另一个生活中再次相遇，但事情仍然不容易。　　佛历2456年，由于Atitthan公主和Katsakorn公主受传统阻碍，两位女生无法相爱，她们就像太阳和月亮，永远不会成对，因而在一起交往也是不可能的。　　佛曆2564年，过去已经过去，时代已经改变，直到她们再次相遇，当Katsakorn和Atitthan偶然相遇时，甚至爱也在心中绽放，但爱的道路从來都不容易。　　两人仍然必须携手突破，即使不是打破传统，但过去的故事仍然与影响会联系在一起。　　~ ~改编自艾斯的小说《katsathitthan》(กัษธิษฐาน)。　　The plot of I'm Your Moon tells about two women in love in 1913, but destined not to be together. They then meet again in another life in 2021, but things are still not easy.　　In 2456, Princess Atitthan and Princess Katsakorn were hindered by tradition, so the two girls could not fall in love. Like the sun and the moon, they would never be paired, so it was impossible to get together. In 2564, the past has passed and the times have changed until they meet again. When Katsakorn and Atitthan meet by chance, even love blooms in their hearts, but the road to love is never easy. The two still have to work together to break through, even if they don't break the tradition, the stories of the past are still linked with the influence.　　~~ Adapted from the novel Katsathitthan (กัษธิษฐาน) by Ace.

介绍：即将上映的大学爱情连续剧描绘了富裕家庭的继承人Nu和顽皮且舞会的Sun之间的关系。两人相遇时，出现了许多的矛盾，但“真爱”三个字却带领他们克服了。改编自Nu（นุNU）的小说《眼神接触》（EyeContactเพียงสบตา）

介绍：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.