危险职位

　　安和马克是一对幸福的夫妻，马克是一位内科整容医生，他们过着温馨的生活。安是位建筑工程师，而且爱好击剑。漂亮的安做什么事情都很出色。这让她的好朋友劳拉很是嫉妒。劳拉和安都要参加州际击剑比赛。为了能够让自己在比赛中取得胜利，劳拉发起了她那不可告人的计划，使安不但失去了冠军的头衔，而家庭生活也开始岌岌可危。但真正的爱情是可以战胜一切的，最终，安和马克又幸福的生活在一起。

惊心交易

Laura loses her family in a tragic fire while living in Spain. Just as she prepares to return home to the States, a member of the American embassy  provides proof that it wasn't an accident. Laura  decides to stay and uncover the truth about  her family

爱是圣诞节

《爱是圣诞节》讲述了一个单亲父亲和女儿的故事。由于妻子在一场烧毁他们餐厅的可怕火灾里惨死，马丁和他心爱的女儿卡特琳一直住在他父亲约瑟的房子里。可怕的大火不但抢走了他爱的女人，也剥夺了他唯一的收入来源。马丁拼命工作以免入不敷出，他开始开出租车来给女儿提供基本的生活。

冰肤传说

1914年第一次世界大战前夕，一名气象学家被派往南极孤岛上做气候观测。然而他很快发现，岛上除了他和一个疯疯癫癫的灯塔员，还有其它生物的存在... 影片改编自同名小说。

华侨村官

《华侨村官》讲述的是以华侨村官为主线贯穿始终，两个家庭的离合，两个不同国籍的恋人的悲欢，一对半师徒的恩怨，反映了侨乡巨变和中国山村与世界逐渐缩短距离的故事。

青春的忏悔

　　这是一个真实的故事……                                                                    　　黄山即将高职毕业，如果不出什么意外的话，黄山将和自己的铁哥们胡海波一块去英国留学。为期一年的实习即将结束，酒店经理张力在一次例行的会议后，将黄山单独留下来，驱车来到市郊的海滨沙滩，用自己短暂分别后的强烈思念，打开黄山不曾设防的青春防线。                                                                    　　黄山一夜未归，让同宿舍的铁哥们海波和谭鹏甚感意外和焦急，而真正焦急不安的，是黄山的同班女朋友鸽子，以及鸽子同宿舍的两个好姐妹红叶和吴心。第二天一大早，黄山从张力的公寓里回到学校时，鸽子的妈妈因为尿毒症住进了医院。与此同时，张力因为时常有眩晕的感觉，在黄山的提醒下也出现在医院，做例行的身体检查。                                                                    　　从昏睡中被红叶和吴心拉起来，黄山才得知鸽子的妈妈身患尿毒症的消息，并当即赶回家里帮鸽子筹钱。还没等黄山将钱送往医院，已经知道检查结果的张力出现在黄山家，塞给黄山一万块钱做鸽子妈妈治疗费用的时候，张力深情忧郁，欲言又止。黄山一夜未归造成的不快，随着鸽子妈妈病情的到来被几个好朋友抛之于脑后，但接下来的事情很快就在六个朋友之间掀起轩然大波。                                                                    　　黄山二十二岁生日那天，由鸽子发起，五个好朋友一起操办的生日庆祝聚会在海滨沙滩举行。就在谭鹏因为略显“晚熟”而遭到红叶、吴心的嘲弄，让谭鹏向黄山和海波讨教成熟的秘诀时，张力不合时宜的打来电话，吞吐之间告诉黄山自己被确诊为艾滋病病毒感染者，建议黄山也去做次检查。                                                                    　　听到这个消息，黄山犹如遭到五雷轰顶，顿时不敢相信自己的耳朵，但接下来的检查却告诉黄山不幸的事情终于在自己的身上变成了事实。张力住进了医院，黄山带着不能和海波一起留学英国的悔恨，在父母精神支柱几近坍塌的打击下，告别爱恨交织的鸽子住进了医院。在医院看护黄山的日子里，鸽子和黄山原谅了同样无辜可怜的张力，并接受了医院方面的邀请，用自己的亲身经历做一场现身说法的报告。 　　2003年12月28日，黄山在北京的一家医院告别了短暂的青春，带着忏悔走完人生的旅途，张力转入南方某医院做继续治疗……

欧洲的某个地方

Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

危险的诱惑

个男人接近女人谁是即将从孤独走出她的脑海里。“你爱我吗......？”素妍失去了她的父母出车祸在幼年时，她的埋在孤独。很多人都来了，但他们都消失了像风。她被人骗了钱被两人谁答应娶她，让她在一间小木屋落户独自在那里，其中她的父母买了他们通过之前。素妍决定要租出去的房间，然后一个人走来。她觉得感情对他和他引诱她，把他们拉成热的关系。她爱上了他越多，他要求无法解释的和残暴的行为...

不文大丈夫

莫斯科陷落（国语版）

难得一见的流星雨即将在俄罗斯上空出现，青年男女们兴奋非常，纷纷走上街头见证着历史性的一刻。美丽女孩尤利娅（伊琳娜·斯达森保姆 Irina Starshenbaum 饰）不顾身为军官的父亲的反对，执意和特姆（亚历山大·佩特罗夫 Alexander Petrov 饰）交往。在流星雨来的这天，他们躲在一隅偷欢，却不知莫大的危机正在袭来。一艘外星飞船遭到意外，结果又被俄罗斯空军击中。它在迫降的过程中给莫斯科造成毁灭性的打击，而尤利娅的闺蜜也在灾难中丧生。在此之后，尤利娅和朋友们闯入禁区，遭遇了外星人。阴差阳错，她决定救治受重伤的外星飞行员汉克（林奈·穆罕默托夫 Rinal Mukhametov 饰），而特姆等憎恶外星人带来的灾难，对汉克恨之入骨。

黄蜂尾后针

金融界商人邱世龙（刘松仁）阴险奸诈，表面上进行正当交易，实则专替黑帮洗黑钱；其妻刘艳娥（郑裕玲）乃执业律师，为求赚钱，不择手段，甚至参与黑钱之事，而二人之关系实单靠金钱来衡量。　　某日，娥无意中发现龙隐瞒了一千万美无，一怒之下，把巨款收起，准备跟他摊牌。然而，龙在慌乱之中竟误以为杀死妻子，其后得悉娥变成植物人，龙才松一口气。曾受娥陷害的女护士马美珍（叶德娴）碰巧转职至此，珍趁机报复，误打误撞下竟把娥弄醒。　　龙为了探取娥收藏款项的地点，决定尽情照顾，惟娥记忆尽失，且性情怪异。一天，娥不知不觉地返回旧日律师行，发觉自己过往所做的种种坏事，后悔不已；再加上被同事调戏，龙逼她食增强记忆的药，且受珍的咒骂，终于忍受不了自杀。幸得珍加以安慰，两人遂成好友。　　未几，娥突然恢复记忆，并拿出巨款准备交还泰国帮，然后与龙远走高飞，从新生活。就在这时，娥闻得珍的死讯，伤心欲绝，反而指证龙的罪行。

天启第一章

2048年，因核泄漏产生的核辐射感染了城市中大部分人群，为了治疗受感染的人群，赛亚公司派出特勤小队保护专家吴博士到废弃的实验室寻找疫苗。 　　但是谁知道疫苗研制成功的关键是要队里唯一的女队员程晓献身于曾经绑架过她亲妹妹的犯人高放。正在众人犹豫不决的时候，博士突然发现了研制疫苗的新方法，而与此同时，一大波感染人冲进了实验室。众人在队长的带领下，打退了感染人的进攻，为博士研制疫苗争取了时间。而程晓也得知高放并没有绑架她的妹妹，真正的凶手另有其人。 　　最终在大家的努力下，疫苗研制成功。但队长偷走了疫苗，于是，众人沿着队长留下的痕迹，追了下去。