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导演：
霍耀良
剧情：
飞虎队员阿坚在警方的安排下，成功打入黑社会内部，做起了卧底，黑社会老大肥叔始终怀疑阿坚的身份，屡屡找各个机会来试探阿坚，但阿坚都化险为夷，香港黑社会四大家族火拼九龙湾，一场混战中，阿坚救了肥叔一命，从此，肥叔相信了阿坚。
肥叔计划抢劫金铺失败，肥叔把气发在上次追杀他的黑社会四大家族之一的匡仔身上，准备报复匡仔。为了避免更大规模的流血事件发生，阿坚又将消息传回警局，但还是晚了一步，肥叔的儿子偶遇阿娇，他不知是阿坚的妹妹，阿娇被其强暴，并拍下录像，阿坚不顾队长的劝阻，杀了肥叔的儿子，但不幸暴露了身份。
肥叔抓不到阿坚，一怒之下，杀了阿坚的全家，阿坚终于现身，设计绑架肥叔，阿坚这一行动引来了警方和肥
叔的马仔，黑白两道在九龙湾相遇...
导演：
林岭东
剧情：
波兰华沙的解放同盟军其实是个打着革命旗号的恐怖组织，为了显示自己的力量，他们准备在美国商务代表团访问香港时制造爆炸事件，借此达到他们的政治目的。美国中央情报局掌握这一线索后派干探域拿赴港阻止这场阴谋，由于事关政治因素，故香港政治部亦派出李督察（李修贤）协助域拿行动。 两个来自不同环境的探员刚开始水火不容，渐渐产生深厚友谊，同心协力粉碎了恐怖组织的爆炸企图，还击伤这个组织的首领。 可是事情并没有结束，死里逃生的恐怖组织头目孤身闯入电视台新闻部，劫持了所有工作人员，其中包括李督察的女友Annie（关之琳），他准备在此制造流血事件，并向全世界转播，此时李督察与域拿双双赶到，不料李的得力助手小邓（黄光亮）已被恐怖分子收买，李督察与域拿落入了恐怖组织手中，在危急关头，他们两人如何救己救人？
导演：
高林豹
剧情：
香港发生连串凶杀案, 死者均为夜之女, 杀人手法极之凶残, 凶手行凶时是驾驶电单车, 手持硬物, 将死者玩弄至根疲力尽时才下手杀人. 因案发时均为星期五晚上, 故被传媒称为(星期五杀手). 卓雄授命办理此案, 在杀手出没的地方布下天罗地网, 以五十名美艳女警为饵, 在高处安排了狙击手, 在街上满布便衣探员, 交通部更出动了三十部普通电单车, 以作追截杀手之用. 可惜行动最后失败, 健之CID女友萍更被杀手刹害, 虽然卓雄亦驾驶电单车力追, 更与杀手大打一场, 最于被杀手逃走. 自此之后, 同事们都认定卓雄是一名无人性的警察, 健更因此与卓雄结下不解仇怨…….
导演：
让·吉罗
剧情：
头脑简单却拥有百万家产的安托瓦爱上了年轻美貌的帕达丽夏，整日纠缠不休。为了摆脱这个令人讨厌的家伙，帕达丽夏雇佣了一个叫西蒙的男人假装自己的丈夫。此刻帕达丽夏的父母正在国外旅行，为了给帕达丽夏的父亲一个惊喜，母亲花重金买下了一块传说蕴藏丰富石油的土地作为生日礼物送给他，但很快大家发现卖土地的人是一个骗子。为了把这块土地转手卖出去，父亲想到了追求女儿的安托瓦。 但此时帕达丽夏已经有了“丈夫”，考虑到快要为了这块土地而发疯的父亲，帕达丽夏只得同意把安托瓦约到家中度周末，并慌称西蒙是自己刚从国外回来的哥哥。 西蒙和岳父向安托瓦大力推荐着那块可以令他发财的土地，正巧帕达丽夏外出旅行的弟弟保尔带着女友帕尔玛回到家中。于是一家人开始一起演出这场闹剧。帕达丽夏用自己的魅力吸引着安托瓦的注意，父亲则使出浑身解数想要安托瓦签支票买下土地。 西蒙看出帕尔玛有问题，用计套出了帕尔玛的真实身份。她原本只是一个夜总会的女招待，看到保尔出手大方，便骗保尔说自己是将军的女儿。事实上她只是想得到保尔的财产。此次在保尔家，帕尔玛发现安托瓦比保尔更有钱，于是改投安托瓦怀抱。西蒙和帕尔玛达成协议，只要帕尔玛引诱安托瓦签支票，西蒙就不会在众人面前透露她的底细。 安托瓦最终同意买下这块土地，他已经被帕尔玛迷得天旋地转。安托瓦带着帕尔玛回到自己家，帕达丽夏终于摆脱了他。此刻帕达丽夏和西蒙之间产生了非常微妙的感情，西蒙终于成为了帕达丽夏真正的丈夫。
导演：
乔舒亚·迈克尔·斯坦
剧情：
嗜酒如命的中年大叔巴德（凯文·科斯特纳 Kevin Costner 饰）刚刚因为醉酒被解雇了，每天玩乐度日的他对家事国事天下事事事无兴趣，却有一个精明早熟、极有主见的12岁女儿莫莉（玛德琳·卡罗尔 Madeline Carroll 饰）。眼看美国大选在即，按照巴德的前半生经历来看这事跟他八竿子打不着，因为他根本不懂选民资格也从未注册过。然而今年，莫莉却已经悄悄帮他办妥了一切申请，只需他手指一动。然而更出乎预料的是，由于投票机器的故障，巴德的投票竟变成了决定美国总统选举结果的关键一票。一时间各类媒体和候选人团队蜂拥而至，巴德父女俩至此被推到风口浪尖，从未涉足政界的小市民巴德将如何面对和判断这突如其来的局面，又将以怎样的方式投出自己的关键一票呢？
导演：
堤幸彦
剧情：
2035年，日本经济衰退，人口锐减，少子高龄化使国家走向崩溃边缘。除少数城市外，国内大多数城镇和百姓都被国家所抛弃。与此同时，号称暗黑十字军（Dark Crusade）的犯罪组织称霸全国，企业化的警察部门难有作为。为了应对日益严重的犯罪，名为英雄协会的民间组织营运而生，以银队长（馆广 饰）为首的百名关8战队勇士与罪恶势力展开连番对决。被债主追索苦逼的青年横峰诚（横山裕 饰）意外加入英雄协会，此时此刻，大多数战队战士壮烈牺牲，只剩下涩泽薰（涉谷昴 饰）、村冈雄贵（村上信五 饰）、丸之内正悟（丸山隆平 饰）、安原俊（安田章大 饰）、锦野彻朗（锦户亮 饰）以及大川良介（大仓忠义 饰）等各自有着不堪人生经历的年轻人为了糊口留在协会中。
暗黑十字军的头目Mr. Dark在八万市展开接二连三的犯罪活动，毫无责任心的年轻战士们能否拯救民众于水火呢？
导演：
居伊·德波
主演：
剧情：
Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
导演：
赵天宇
剧情：
妈妈季佩珍（徐帆 饰）是这个家的灵魂所在，她像有分身术一样能照顾到每一个人。在她的面面俱到之下，这个家看上去井然有序，然而事实并非如此。在妈妈季佩珍眼里女儿李小美（张婧仪 饰）永远都是最优秀的，却不知在北京工作生活的她还有另一面。女儿对妈妈的掌控有多抵触，季佩珍更是不了解。医生丈夫李文舫（许亚军 饰）因几年前的一次失误，至今还无法拿起手术刀。婆婆患有阿尔兹海默症，生活都无法自理……就在身为教师的季佩珍刚刚退休，似乎能松一口气多拥有些自己的时间，却被查出了恶性肿瘤四期。如果妈妈只剩下四个月的生命，这家人的生活又该如何继续下去呢？
导演：
阿兰·乌盖托
主演：
剧情：
一双灵巧的双手带着爱的回忆，用粘土捏出一个个鲜活的人物。粘土小人儿动了起来，跟周围的杯碗瓶罐互动，开始讲述一个意大利家庭三代人历经半个多世纪的家族奋斗史。20世纪初，出身劳工阶级的祖父和祖母质朴地相爱了，他们的幸福结合很快面临人类历史上最残忍的半个世纪的考验。一个新生的小家庭从意大利颠沛到法国，用顽强的韧性对抗一个混战的世界，守护叫做家的天堂。
导演：
康洪雷,李京
剧情：
国际刑警戴志成（仼程伟 饰）为将偷渡团伙一网打尽，只身混入“天堂鸟旅行团”，该团所有成员目的地只有一个——美国。虽然目的地相同，但毎个成员的出发点千姿百态，记者房可欣（罗海琼 饰）深入团伙內部，是想写一篇关于偷渡客的重磅报道，农民高守银则是借机卖掉境外的文物。一干人马随着刀龙（张国强 饰），开始了生死未卜的冒险旅途。在大林莽中，人性中最丑恶的一面逐渐显现出来，狡诈、贪婪、谎言无时无刻地笼罩在这群偷渡客身上，偶尔的团结也只为临时利用。理想与现实总是阻隔着高壑的山谷，越往前走希望越渺茫，何爽（卡杰琳娜 饰）惊愕地发现，此次旅途不过是拿生命做赌注的游戏罢了......
导演：
赵国华
剧情：
“李飞”——功夫高深莫测，孤独一人，整日陪伴着他就是那些形影不离的飞刀，对他来说飞刀比生命更重要，飞刀能斩奸除恶，更能让他体验飞刀进入坏人身体时暴射出鲜血的快感…… “李飞”被香港富商“陈建明”看中，出20万美元要他去杀“陈进才”，李飞受财索命，却发现“陈进才”不但是自己救命恩人“柳春莲”的丈夫，而且是“陈建明”的亲哥哥，陈建明杀死陈进才的目的是想继承本应该属于陈进才的2亿多元的遗产，“李飞”知情后迟迟未下手，却招来“陈建明”杀人灭口的追杀令，大批杀手蜂拥而至，“李飞”决定保护“陈进才”揭穿“陈建明”的阴谋…… 杀手与杀手过招，高手与高手对峙，究竞鹿死谁手……
导演：
康龙
剧情：
不一般的关系，不一般的情感，引发出不一般的故事…… 女警张敏芝（钟淑慧饰）被派往深圳任职，住在罗芳区内。邻居一名老妇人称大嬷，年纪老迈，无依无靠，赵丽薇（关宝慧饰）为疯妇一名，亲儿夭折，被男友弃，患上产后抑郁症，常以枕头或公仔当儿子，爱骂男人为负心汉…… 某日，大嬷的孙儿李浩强（尹扬明饰）归来，但无故常被人追杀，敏芝调查得知美国黑帮杀手黑熊是寻找浩强，怎料黑熊误杀大嬷，丽薇发狂与黑熊纠缠，敏芝赶到现场救得两人，浩强说出因由，原来浩强早前潜往美国当黑市居民，于掌馆当杂务及拳靶，受到唐人街黑帮大少欺压，不慎误杀之，黑帮大佬派黑熊向浩强下江湖格杀令，浩强被迫往返家乡。但黑熊已率领众向浩强展开追杀，众人面临危机……
