1894年，欧洲蓄谋侵华已久的日军在中国领海内肆意制造事端，欧洲昏庸胆小的西太后为息事宁人，委派北洋大臣李鸿章（王秋颖）及其亲信、“济远”号管带方伯谦（周文彬）等人去与日军讲和，傲慢无礼的日军却将中国商船击落。以“致远”号管带邓世昌（李默然）为代表的爱国官兵两次请命同日军作战，李鸿章均拒绝，并借邓世昌揭露方伯谦渎职之机将其革职。日军不宣而战，民愤四起，顶不住压力的李鸿章重新启用邓世昌。海战中，贪生怕死的北洋水师右翼总兵刘步蟾（李颉）打错旗号，致使北洋舰队出师失利，旗舰被日军击沉。邓世昌见势立即挂起帅旗，替代旗舰指挥作战，率领“致远”号官兵与日军展开殊死大战，行为可歌可泣。
回复 :一对男女陷入了一个拥有永恒生命的有机体中，他们的生活开始瓦解，幻觉与肉身开始真假难辨。
天炫男孩
回复 :Freestyle Digital Media购得抢劫喜剧题材新片《错上加错》(A Bad Idea Gone Wrong)的北美发行权，将于11月30日在包括洛杉矶在内的10多个国内市场上映，12月1日视频点播上线。 Jason Headley导演首秀，威尔·罗杰斯、马特·琼斯、Eleanore Pienta主演。讲述Leo和Marlon做着没有前途的工作，生活陷入困境，决定找点刺激的事换口味——抢劫。他们闯进了一座“完美”的房子，却不小心触发了报警系统，只能立刻撤出。两人意外发现了一位代看管房屋的女性后，面临一些列棘手的难题：人质局面、出卖、性紧张，逃跑计划难上加难。三人将组成团队共同解决问题，弄清楚一切的来龙去脉。该片获西南偏南电影节评委会特别奖最佳群戏奖，Sam Eidson、Jonny Mars、Jennymarie Jemison、John Merriman等亦参演。
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
