5.0 日语 · 2001 · 日本 · 剧情片
市原隼人,忍成修吾,伊藤步,大泽隆夫,市川实和子,稻森泉,苍井优,松田一沙,胜地凉,马场乔子,伊藤友树,郭智博,笠原秀幸,冈村麻纯,杉本哲太,田中要次,樋口真嗣,细山田隆人
莲见雄一（市原隼人 饰）与母亲、继父、弟弟生活在一个幽静的小城里。他跟同班同学星野修介（忍成修吾 饰）同在剑道部，两人成为好朋友。星野本来是一个品学兼优的学生，却遭到了同学的嫉妒。当暑假时一群同学自冲绳回来以后，星野变了一个人似的。接着星野开始以欺负同学为乐，而且手段残忍，雄一也不能幸免。雄一性格孤僻，喜欢歌手莉莉周，在自己建立的莉莉周论坛上他认识了一个叫“青猫”的人。雄一与青猫都过着不容易的生活，两人互相鼓励，并约定在莉莉周的演唱会上见面，“青猫”的出现令雄一十分惊讶。
7.0 国语 · 2003 · 香港 · 剧情片
吕颂贤,苏志威,汤宝如,骆英均,关映壁,杜大伟
杀人重犯——欢姐逃狱了！ 一班潜伏已久、令人闻风丧胆的劫匪打算联手再度行劫！..... 一连串消息使警方紧急部署追捕工作。CID李兵接到任务唯有暂时放弃跟吴辉师傅学习功夫。吴辉心里纳闷小齐和李兵两师兄弟为何同时没来练习......接获线报，警方集中大批警力布下天罗地网等待欢姐众匪的自投罗网...... 李兵在围捕行动中与众匪展开激烈枪战，一身手极好的劫匪从李兵手中逃脱，李兵与之交手时发现其身手似曾相识，此时乌黑的枪口已指着他的头...... 对手是谁？能否将欢姐伏法能否将众匪打尽？黑白间演绎人性！正邪对决即将展开
9.0 法语 · 1959 · 法国 · 剧情片
内详
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.
10.0 粤语 · 1982 · 香港 · 剧情片
张国荣,艾迪,Rowena,Cortes,贾思乐,钟保罗,林迪安,Wai-Hon,Ho,陈志辉,Wah,Cheung,Joseph,Chi,Yi-Hsiung,Chi,钱月笙,Fung,Fung,何柏光,Chia-Hsiang,Hsu,关海山,刘一帆,罗兰,陆应康,米奇,张莽,苏杏璇
如果你欣赏已故超级巨星张国荣在王家卫作品《阿飞正传》中叛意的青春年代演出，那麽你千万不要错过1982年由陈全执导、哥哥主演的青春浪漫之作《冲激．21》。此片乃当年为张国荣的参演而度身订造的电影，这也是他的歌唱和演艺事业的高峰时期。由包括人气歌手露云娜、偶像锺保罗等多位明星合演，片中以张国荣为首的角色最为丰富。张国荣演出一位爽快和恼怒的年轻人，他在事业上发奋和奋斗，可惜因他的母亲是位高级的应召女郎而走上不归路。 《冲激．21》跟随着一群富有的二十多岁青年，他们背叛了父母，且尽可能逃避着成人的责任。由于这班青年人涉及了外国人的杀人案，因此他们之间发生内讧，最後难逃警方的追查。片中张国荣在电影里也受尽了折磨，哥哥在《冲激．21》幼嫩却亮眼的演出，以及典型不羁浪漫的人物角色，绝不逊于後作《阿飞正传》。
7.0 英语 · 2012 · 美国 · 欧美综艺
Eric Meyers,Steve Fahl,Matthew John Morley
探索频道《关键战役 Ultimate Warfare》将从士兵的角度，带领观众深入了解真实的战争样貌。结合真实的战场纪录画面和精致的计算机动画和先进图像重建，《关键战役》从战场士兵的角度记录当代最具决定性的战役，这些生还的士兵将描述古今发生的战争故事。 在全系列共10集的节目中，每一集都充满战争的剑拔弩张、胆量及策略，士兵回忆自己面临的重大时刻，每个决定都是生死存亡的关键。《关键战役》的创新制作方式让观众有如亲临战场，亲身目睹感受战事发生的经过，本节目以前所未有的呈现方式带领观众深入认识这些经典战役，见证重大的历史时刻。 从现代战役如堪达哈之战和法路加战争，到过去越战的溪山战役、韩战的长津湖战役、中途岛海战、冲绳岛战役、突出部之役和二次大战的雷伊泰湾海战，《关键战役》透过曾面临生死关头的士兵叙述，呈现出这些重大历史时刻。2003年发生了最残忍的重大战...
5.0 粤语 · 2005 · 香港 · 剧情片
关礼杰,雷宇杨,魏俊杰
“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……
8.0 日语 · 2022 · 日本 · 剧情片
冈咲美保,古川慎,丰口惠美,前野智昭,千本木彩花,市道真央,江口拓也,大塚芳忠,柳田淳一,山本兼平,泊明日菜,小林亲弘,山口太郎,福岛润,樱井孝宏
《#关于我转生变成史莱姆这档事#》剧场版 制作决定！预计将于2022年秋上映！
10.0 国语 · 1998 · 大陆 · 连续剧
莫少聪,于荣光,关礼杰,潘长江,吴玉芳,魏宗万,徐宏,马小峰,胡一飞,薛文成,莫岐,马仑
明朝天启年间，熹宗（潘长江饰）不问朝政。奸臣魏忠贤（魏宗万饰）自称九千岁，作乱朝廷，残害忠良。御史苏西木遭奸党白正君陷害。 江湖侠客梅子青（莫少聪饰）机缘巧合，与苏、白两家女儿结下不解之缘，收白家公子白玉书（关礼杰饰）为徒。苏家小姐苏红桥与白家小姐白丽影（徐宏饰）容貌相同，但一文一武，性格迥异。梅子青纠缠在两女之间，陈暴安良，行侠仗义，对抗奸党，演绎一出感人至深的侠客情仇…… 本剧采用喜剧的拍摄手法，全剧诙谐幽默，矛盾冲突，悬念紧凑，往往有出人意表，是一部不可多犁武侠力作。
9.0 国语 · 1987 · 新加坡 · 海外剧
黄奕良,曾慧芬,李南星,黄毓玲,顾荣芳,戴鹏,杨竣贺,陈濛,洪培兴,王昌黎,陈忠华,林秀明,王菘莘,李康宁,潘恩,曾思佩,叶世品,朱玉叶,刘谦益,陈蒙,方辉,谢金石,郑振星,黄美香,李国立,何其糖,郭维贤,关明玉,林文喜,林丽云,林梅娇,林茹萍,王光荣,王君莉
陆恒（黄奕良 饰）和吴启凡（李南星 饰）就读于南洋美专，是两名热爱艺术积极向上的年轻人。陆恒自小和母亲相依为命，靠着母亲辛辛苦苦开的士赚来的钱才能够获得如今学习的宝贵几乎，因此格外珍惜，更在闲暇时候到冰厂打工，以减轻母亲的负担。 吴启凡则要幸运的多，家境还算殷实的他父母双全，父亲吴润元（极竣贺 饰）是一名中药医师，在行业内德高望重。吴润元希望儿子能够继承自己的职业，亦成为医师，无奈吴启凡 独独喜欢艺术，对悬壶济世没有半点兴趣，父子两人因此产生了巨大的矛盾。毕业之后，陆恒进入了广告公司上班，并凭借着聪慧和努力获得了上司的认可。
6.0 英语 · 2024 · 美国 · 欧美动漫
基努·里维斯,阿诺·施瓦辛格,凯文·哈特,阿丽亚娜·格林布拉特,特穆拉·莫里森,加布里埃尔·鲁纳,帕特里克·施瓦辛格,劳拉·贝莉,艾丹·碧丝朵,迈克尔·比奇,艾米莉·斯沃洛,阿德沃尔·阿吉纽依-艾格拜吉,克劳迪娅·杜米特,克莱夫·斯坦登,瑞奇·惠特尔,梅尔·丹德里奇,Heaven Hart
这部由“爱死机”创作者打造的亚马逊成人向动画选集，总共有15集内容，将会呈现一系列设置在各种热门游戏世界观中的原创故事，包括： Armored Core（装甲核心） Concord Crossfire（穿越火线） Dungeons & Dragons（龙与地下城） Exodus Honor of Kings（王者荣耀） Mega Man（洛克人） New World: Aeternum（新世界：Aeternum） PAC-MAN（吃豆人） 一系列PlayStation工作室游戏 Sifu（师傅） Spelunky（洞穴冒险） The Outer Worlds（天外世界） Unreal Tournament（虚幻竞技场） Warhammer 40,000（战锤40000）
8.0 粤语 · 1998 · 香港 · 剧情片
朱茵,关德辉,王道,邱英洪,林文均,李国魂,李怡慧,朱陆豪,刘序浩
犯罪集团主脑钟元魁心狠手辣，对部下不择手段，如发现部下对自己不忠，马上就会请其吃子弹大餐，年轻漂亮的女孩王雪莉的父亲就是这样的牺牲者。为了替父亲报仇，王雪莉学得一身好武艺，枪法入神。白天，她是和蔼可亲的幼儿园老师，到了晚上，她摇身一变就成了冷艳的女黑侠木兰花，专门打击黑社会，劫富济贫，对钟元魁的黑势力打击不小。 钟元魁的养子钟少杰在毫不知情的情况下，被父亲安排在看似正当的黑帮企业经营生意，却不知父亲私下利用企业进行洗钱的勾当。一日钟少杰在卡拉OK认识了雪莉，被她的歌声吸引声不可救药地爱上了这个外表冷漠的女子。在回家途中，飞车党胡志强和阿泽等人刁难二人，反而不打不成交，几人成了两肋插刀的好朋友。而雪莉也因为这件事暴露了高超的武艺，不禁让钟少杰对其身份产生了怀疑。 雪莉对钟少杰虽然也心生好感，但自己又怎么能爱上仇人的儿子，于是她断然拒绝了对方的爱意。钟少杰遭到决绝后整日失魂落魄，无心经营企业。一个偶然的机会，胡志强意外得知袁警官收受钟元魁的贿赂，充当恶势力的保护伞，并把此事告诉雪莉。而此时雪莉也成了钟元魁和袁警官的追杀对象。为了帮父亲报仇，雪莉打算做最后一博，冒死潜入钟家。 却无意获悉元魁并非钟少杰的亲生父亲，而且更是其杀父仇人。少杰得知真相后，痛心疾首，决定和养父对抗到底。而此时雪莉为报父仇，也与元魅决一死战。无奈，险象环生，钟元魅协持少杰，令雪莉左右为难 。结果邪不能胜正，钟元魅被警方拘捕，少杰与雪莉有情人终成眷属，黑侠木兰花从此在江湖消失。
8.0 英语 · 1997 · 美国 · 剧情片
帕姆·格里尔,塞缪尔·杰克逊,罗伯特·福斯特,布里吉特·方达,迈克尔·基顿,罗伯特·德尼罗,迈克尔·鲍文,克里斯·塔克,丽莎盖伊·汉密尔顿,汤米·利斯特,哈蒂·温斯顿,希德·黑格,爱米·格拉汉姆,埃利斯·威廉姆斯,唐吉·安布罗斯,提吉雅·克里斯特尔·凯默,黛安娜·乌里韦,劳拉·拉芙蕾丝,昆汀·塔伦蒂诺
表面看来，杰奇（帕姆·格里尔 Pam Grier 饰）是一名普通的空姐，然而，在暗地里，她一直利用职务之便，帮助军火商奥德尔（塞缪尔·杰克逊 Samuel L. Jackson 饰）运送赃款，并从中获取暴利。一次意外中，杰奇的“生意”曝光了，她本人亦遭到了逮捕。得知此事，奥德尔派出了马克斯（罗伯特·福斯特 Robert Forster 饰），想要杀人灭口。 让奥德尔没有想到的是，马克斯竟然疯狂的爱上了杰奇，两人一拍即合，策划了一场阴谋将奥德尔耍得团团转，甚至派出了心腹梅兰妮（布里吉特·芳达 Bridget Fonda 饰）和路易斯（罗伯特·德尼罗 Robert De Niro 饰）助其一臂之力。然而，当奥德尔发现自己受骗之时，他才发现，事态的发展早已经脱离了他的掌控。
7.0 法语 · 2022 · 法国 · 剧情片
保拉·洛卡特利,西蒙·雷洛尔,艾拉·佩莱格里尼,亚力克西斯·马沙利克,奥斯卡·莱斯格,毛瑾轩,卡蜜尔·莱昂·福辰,朱利安·洛佩兹,特里斯坦·赞奇,艾默里克·福杰隆,艾洛伊斯·扬哈德,艾尔莎·杜切
As the innocent Célène (Paola Locatelli) falls in love with popular surfer Tristan (Simon Rérolle) in her new school, she has no idea that she’s the object of a cruel bet between Tristan and Instagram queen Vanessa (Ella Pellegrini) Dangerous Liaisons, a film starring Paola Locatelli and Simon Rérolle, only on Netflix, July 8th.
5.0 粤语 · 1990 · 香港 · 剧情片
尹扬明,钟淑慧,关宝慧
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……
9.0 日语 · 2019 · 美国 · 欧美动漫
木村良平,江口拓也,潘惠美,田中秀幸,诸星堇,鱼建,牛山茂,竹内良太,花轮英司,关户博一,白石稔,津田健次郎,山崎胜之,曾世海司,平田广明,吉冈茉祐
从前有位“光之巨人”，他负责保卫世界和平，对抗巨型怪物和外星人入侵的威胁。他就是机动奥特曼。他曾在执行任务时与科学考察队员早田进建立起联系，并在使命完成后离开了地球。时至今日，人类已进入了繁荣时代，但这只不过是和平的假象...现在，世界再次需要“光之巨人”的力量。就在这时，一个新的英雄出现了，他继承了光的基因。但是他并不高大，是一名中等身材、多愁善感的高中生，穿着金属动力制服。他的名字叫早田进次郎，是初代机动奥特曼早田进的儿子。早田进次郎克服种种困难成为新一代机动奥特曼，一个新的故事就此展开。
9.0 菲律宾语 · 2014 · 菲律宾 · 剧情片
Angelo,Ilagan,Sandino,Martin,Boots,Anson-Roa
On Christmas Day, DAVID, 15, finds out that his boyfriend, JONATHAN, 17, has taken another lover. The discovery leads him on the brink of depression making him think of ways to have him back at all cost. He has invited Jonathan to see him on this day for the last time. And through the frenzy of his preparations prior to meeting Jonathan, we will discover his traits and personality; the 'worlds' he lives in - virtual and real; and, we will witness how he prepares for his most unique shout-out that he will make not only on his Facebook wall, but, in his life.
10.0 国语 · 2015 · 香港 · 剧情片
杨千嬅,古天乐,王诗雅,傅舜盈,陈丽儿,李咏珊,何涴潆,吴耀汉,吴浣仪,姜皓文,刘乔方,狄哲龙,利绵娜,冯淬帆,马浴柯,火火,黄文慧
吕慧红（杨千嬅 饰）曾经是名校校长，和丈夫谢永东（古天乐 饰）结婚多年，感情依然恩爱如初，幸福美满的两人即将迎来他们的十周年结婚纪念日。吕慧红早早离开了工作岗位，为了半年之后的环球旅行做起了准备，内心里满怀着期待和盼望。 一次偶然中，吕慧红得知一所名叫元田的幼儿园濒临倒闭的边缘，而园中仅有小雪（何涴潆 饰）、珠女（王诗雅 饰）、嘉嘉（傅舜盈 饰）、凯蒂（李咏珊 饰）和珍妮（陈丽儿 饰）五个天真单纯的孩子，如果幼儿园倒闭，那么这五个孩子将要面对无学可上的糟糕现实。冲动之下，吕慧红决定成为元田幼儿园的园长，哪知道想要胜任这一职位，需要付出那么多的努力和那么大的代价。
7.0 国语 · 2010 · 大陆 · 剧情片
关慧卿,于清斌,张译云,丁浩
百乐门头牌歌女叶芷心惨死在公寓。刚从外地赶回来的叶蔓萝风尘仆仆，面对姐姐的尸体悲痛万分。在警察局，叶蔓萝得知疑犯可能是最后一个离开叶芷心的人--司徒浩。叶蔓萝知道这个人，他是姐姐的男友。 打算离开警局的叶蔓萝正好碰上前来的司徒汉--司徒浩的哥哥。司徒汉以警局房屋年久失修为由，递给局长一张高额支票，司徒浩被顺利放出警局。这一切，都被叶蔓萝听进耳中看在眼里。 为了替死去的姐姐报仇，叶蔓萝先以艳媚歌女形象让弟弟司徒浩沉沦其中，后来又以清纯女学生的模样，在她设计好的车祸里被哥哥司徒汉送进医院，而司徒汉也逐渐坠入叶蔓萝布好的情网。一面是魅惑艳丽的歌女，一面是清纯可人、为生计在西餐厅拉琴的女学生，叶蔓萝以双面佳人身份周旋在两兄弟之间，逐渐完成了对两个男人的征服。 一切都在按照蔓萝的计划行进。为了她，司徒汉和司徒浩反目成仇，兄弟俩数次发生争执。不过，在周旋中，蔓萝逐渐对司徒浩产生了一种莫名的情愫。同时，在寻找叶芷心死亡的蛛丝马迹时，一个神秘人物杜千山也开始浮出水面。 那么，神秘人物杜千山究竟何许人也？到底谁才是杀害叶芷心的真凶？在情感纠葛中，蔓萝又将何去何从？