昭和(📧)30年(nián )代前半の(👅)東京の下町(dī(🥖)ng )を舞台に、童(🕌)謡(yáo )を歌い継(😙)いでいこうとする女性(xìng )教師と合唱(chàng )を通(💢)(tōng )して成長し(🦉)ていく子ども(💩)たちの絆を描(🍅)いた感動(dòng )アニメ。昭和31年(nián )の春(chūn )、深川・木(mù )場の小学(📪)校に坂本理(lǐ(🈷) )恵子という名(🌈)の教師が赴任(💟)(rèn )してくる。彼(🍿)女は戦(zhàn )死した兄の遺言(yán )に(👺)より、子ども(😨)たちに童謡を(😢)伝(yún )えていく(🎖)ことに強い情(🌵)熱を持っていた。そんな彼女(nǚ )の指導の下、(🥞)子(zǐ )どもたち(🧠)は年末(mò )に開(🐩)催される合(hé(🛩) )唱大会での優勝(shèng )を目指し練習に取り組むが……。
80年(nián )代(➗)的欧洲高(gāo )校(💩)，同性恋、娘娘(😑)腔(qiāng )永远是被(⛵)欺(qī )负的(de )对象。然而(ér )有个(gè )瘦弱漂亮的男孩(⛲)(hái )，他的目光没(🐦)有(yǒu )停留在人(🔜)们带给(gěi )他的(🕍)(de )伤口上。他(tā )艳(🔸)羡的看着粉红(hóng )吊带(dài )，红唇眼影(yǐng )——这个(🎊)叫强斯(sī )（泰(🛢)(tài )德·希根布(🆖)尔克(kè ) Tad Hilgenbrink 饰）的(🏟)男孩梦想(xiǎng )有天成为这场视(shì )觉盛宴的主角。
故事发生在吐(⚽)鲁(lǔ )番地(dì )区(🚪)一个农村(cūn )老(⚫)村(cūn )长的家里(🔺)，清享晚年生活的哈里(lǐ )克和老伴帕(pà )夏为(wé(😸)i )大女儿康巴(bā(🤾) )尔汗(hàn )的婚事(🎡)操心劳神(shén )，已(👲)34岁的康巴尔(ě(🖐)r )汗因无法忘记昔(xī )日的(de )恋人而拒绝(jué )嫁人。小(🥅)女儿阿(ā )娜尔(🔰)(ěr )汗是一位聪(😻)(cōng )慧、热情的(🎠)导游(yóu )，却(què )偏偏爱上了大姐(jiě )康巴尔汗的昔日(rì )男友克里(🗨)木，而(ér )家中唯(🖱)一的儿子(zǐ )普(🥊)拉提为了邻村(🦉)(cūn )的阿(ā )拉木汗茶饭(fàn )不思(sī )，可阿拉木(mù )罕(😴)的妈妈却从中(🚭)作梗(gěng )死活不(😀)愿把(bǎ )自己(jǐ(💌) )的女儿嫁给(gě(👂)i )哈里(lǐ )克家的儿子，究(jiū )其原因才知道哈(hā )里(🤳)克和阿拉木汗(⌚)(hàn )的妈(mā )妈早(❎)年有一(yī )段难(🤯)结的婚缘……于(yú )是吐鲁番的(de )月亮(liàng )缺了又圆，吐鲁(lǔ )番的(🐜)情歌婉转往(wǎ(📲)ng )复，康巴尔汗带(🎵)(dài )着对爱情的(💌)向往(wǎng )撒手人寰，阿娜(nà )尔汗在爱情和生(shēng )活(🌮)的(de )历炼中慢慢(🛋)(màn )长大(dà )，在吐(🚄)鲁番(fān )的...
这是(🧤)Jorge Ameer执导的一部以(🤕)(yǐ )Anthony(John Shaw扮演）为中(zhōng )心的(de )睿智，而同(tóng )时又(yòu )带有(🙄)一丝黑色的(de )幽(✝)默的惊悚片。
Mary Class is a highly successful business executive - who just happens to be the daughter of Santa Claus. But when her father falls ill, Mary returns to the North Pole and the life she left behind to take over for her dad and implement her innovative ideas for running Christmas.
Aditi Singh is a young Indian woman working as a secretary in Bombay. She gets romantically involved with Rajiv Kumar, the overseer of her office at the university of Bombay. Coming from a traditional family, she asks Rajiv to get engaged, but he refuses. Thus begins the secret love story that drives this film. All the dialogues in it are monologues adapted from the love letters exchanged by Fernando Pessoa and Ofelia Queiroz.
三(🚄)十年前冰岛犯(🦀)(fàn )罪三(sān )人帮成员之(zhī )一的霍贝格在自(zì )己的(de )家中被人杀(🍄)(shā )死，警员艾尔(📣)兰(lán )多与(yǔ )（(🚟)Ingvar Eggert Sigurðsson 饰）两名搭(👯)(dā )档负责此案，现(xiàn )场一张墓地的照(zhào )片引起(😐)艾尔兰多(duō )注(🥗)意，循此线索(suǒ(🕣) )，艾(ài )尔兰多揭(🔡)开(kāi )一桩(zhuāng )陈(🍮)年强奸案(àn )幕后真相。与此同时(shí )，她的女儿(é(🌧)r )伊娃(wá )沉溺放(🖤)纵的生活(huó )，未(🦔)婚先孕而竟(jì(🍝)ng )不知孩子的父亲(qīn )是谁。
该片是一(yī )部以(yǐ )西部石油工(gōng )人(👢)工作和生活为(😒)创作(zuò )题材的(🤳)电影(yǐng )。
美(měi )貌(🧕)的小镇教(jiāo )师斯(sī )黛拉（伊丽莎白(bái )·班克斯 Elizabeth Banks 饰）在(zài )母(🗃)亲过世后得到(🍻)(dào )当地富豪格(💾)兰特(tè )（迈克(🏄)尔·鲁克(kè ) Michael Rooker 饰）的多方照顾(gù )，嫁(jià )给他后尽(👤)管(guǎn )诸多不满(🏎)，却依然努(nǔ )力(🗽)成为一个(gè )合(🥄)格(gé )的妻子。有次二(èr )人吵架后格兰特(tè )愤而出走，被神(shén )秘(🕛)的外星生物侵(🐙)(qīn )入体(tǐ )内，第(🛂)二日(rì )清早回(💡)家性情大变。于此同时，小镇(zhèn )的宠物狗开(kāi )始神(shén )秘失踪，曾(🧤)与格(gé )兰特在(🛺)酒吧一同(tóng )饮(😏)酒的女孩布兰(🍕)(lán )达（布兰达·詹(zhān )姆斯 Brenda James 饰）也不见(jiàn )了踪(👍)(zōng )影。在发现(xià(🚓)n )了格(gé )兰特开(📷)始腐(fǔ )烂变异(🔭)的脸后，惊恐(kǒng )的斯黛拉求(qiú )助于(yú )小镇警长比尔和(hé )众警(😾)员（内森·菲(🥫)利安 Nathan Fillion 饰），但(dà(🏡)n )众人均被吓坏(🛄)，格兰(lán )特借此逃脱(tuō )。众人决定在附近农(nóng )场猎捕格兰(lán )特(🔝)，却没想到这(zhè(📻) )竟导(dǎo )致了怪(📈)异生物的(de )大蔓(🦇)延，整个小(xiǎo )镇都处于极度危(wēi )险之(zhī )中。
One day a woman named Maude (Catherine Jacob) walks into a swimming pool and sees a young girl splashing about with her friends--in that one instant everything changes. Twelve years ago, someone stole Maude's baby girl, and ever since she has devoted her life to finding her missing daughter. Twelve-year-old Zita, who has a birthmark eerily the same as Maude's lost child, lives with her breezy gypsy mother Joana (Arly Jover) in casual squalor. The girl's vague history, combined with a doctored birth certificate, no baby pictures and an absent father confirm Maude's suspicions that she has finally found her missing child, and she goes after the girl with all the tact of a hostile takeover. Cold and abrasive Maude is not a woman who invites easy sympathy, she drinks too much, smokes constantly, and wears a slash of lipstick as harsh as fresh blood. In marked contrast is Joana, whose easy manner makes her seem the more naturally maternal of the pair. But as Maude begins to infiltrate Zita's life (with expensive presents and promises of wealth and privilege) the struggle between the two mothers intensifies into a pitched battle between nature and nurture. Writer-director Virginie Wagon invests this intense drama with sympathy, compassion and keen intelligence. Ultimately, the one thing that separates the two women is a Solomon-like decision, as heart wrenching as it is necessary.