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备注：已完结
类型：电影
主演：未知
导演：Johan Grimonprez
语言：英语
年代：未知
简介： Based on the book of The Shadow World, this feature length documentary is an investigation into the multi-billion dollar international arms trade. Directed by Johan Grimonprez and based on Andrew Feinstein’s globally acclaimed book The Shadow World: Inside the Global Arms Trade, the film SHADOW WORLD reveals how the international trade in weapons - with the complicity ofgovernments and intelligence agencies, investigative and prosecutorial bodies, weapons manufacturers, dealers andagents - fosters corruption, determines economic and foreign policies, undermines democracy and creates widespreadsuffering. SHADOW WORLD posits an alternative through the experience of a peace activist and war correspondent, aswell as the stories of Eduardo Galeano. But ultimately the film reveals the real costs of war, the way the arms trade drives it, how the weapons ofwar are now being turned against the citizens of liberal democracies, and how the ‘shadow world’ is taking over. In the hopes that in understanding how our realties are being constructed, audiences may see through this horror, and create a better future… (more info on cinando.com)
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备注：已完结
类型：泰剧
主演：Zee Pruk Panich Tommy Sittichok Pue
导演：Kittiphat Jumba Thanamin Wongskulphat
语言：
年代：未知
简介：阿棕（司提崇·皮叻陂TommySittichokPueakpoolpol饰）的妹妹索尔（薇琳萨兰·唐绮苏瓦妮VeerinsaraTangkitsuvanich饰）是一个腐女，一天，阿棕震惊的发现，自己竟然被妹妹写进了她所创作的BL小说里，阵阵作呕的阿棕发誓，小说里的这些事情永远都不会发生在他的身上，直到有一天，阿棕遇见了名为萨法（甘·克里查纳潘JimmyKarnKritsanaphan饰）的男孩。图图（苏帕蓬·尤多坎扎纳SuppapongUdomkaewkanjana饰）曾经是衔着金汤匙出生的富家大少爷，却因为家道中落而沦为穷小子。菲特（李海海ZeePrukPanich饰）是认为有钱就可以为所欲为的富二代，当两个人相遇后，他们的价值观产生了激烈的冲突，甚至碰撞出了激情的火花。
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备注：已完结
类型：动画电影
主演：未知
导演：Johan Grimonprez
语言：英语
年代：未知
简介： Based on the book of The Shadow World, this feature length documentary is an investigation into the multi-billion dollar international arms trade. Directed by Johan Grimonprez and based on Andrew Feinstein’s globally acclaimed book The Shadow World: Inside the Global Arms Trade, the film SHADOW WORLD reveals how the international trade in weapons - with the complicity ofgovernments and intelligence agencies, investigative and prosecutorial bodies, weapons manufacturers, dealers andagents - fosters corruption, determines economic and foreign policies, undermines democracy and creates widespreadsuffering. SHADOW WORLD posits an alternative through the experience of a peace activist and war correspondent, aswell as the stories of Eduardo Galeano. But ultimately the film reveals the real costs of war, the way the arms trade drives it, how the weapons ofwar are now being turned against the citizens of liberal democracies, and how the ‘shadow world’ is taking over. In the hopes that in understanding how our realties are being constructed, audiences may see through this horror, and create a better future… (more info on cinando.com)
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备注：已完结
类型：欧美动漫
主演：内详
语言：
年代：未知
简介：故事发生在一个充满了魔法的神奇国度之中，丽安娜（KellySheridan配音）和艾丽莎（CassidyLadden配音）是一对无话不谈的好友，两人有着共同的爱好，那就是唱歌。一次偶然中，丽安娜和艾丽莎发现了一面魔法镜子，在镜子，竟然住着一个名为梅洛蒂（MarykeHendrikse配音）的精灵。梅洛蒂告诉两个女孩，有一个地方叫做“钻石城堡”，那里是音乐爱好者们的天堂。可是，邪恶的缪斯莉迪亚（凯思林·巴尔KathleenBarr配音）出现了，想要独占城堡。如今，梅洛蒂的手上有着城堡的钥匙，她要借助女孩们的力量，打倒莉迪亚，重获自由。通往城堡的路途非常遥远，两个天真善良的女孩能够顺利完成任务吗？
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备注：已完结
类型：欧美剧
主演：阿尔迪斯·霍吉 詹妮弗·威格莫尔 梅赛德斯·德拉泽尔达 莎伦·泰
语言：英语
年代：未知
简介：《亚历克斯·克洛斯》是由罗伯·科恩执导，泰勒·派瑞、马修·福克斯、瑞秋·尼科尔斯主演的惊悚动作电影，于2012年10月19日在baoshu8.com美国上映。该片根据詹姆斯·帕特森的同名系列小说改编，讲述了对犯罪心理颇有研究的亚历克斯·克洛斯博士与外号“毕加索”的连环杀手展开了一场斗智斗勇的殊死较量
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备注：已完结
类型：电影
主演：Hannelore Hoger Alexandra Kluge Edg
语言：德语
年代：未知
简介： The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
