伊丽莎白（Agathe Rousselle饰）是一位患有抑郁症的女性，在巴黎为一家礼宾公司工作，负责带领常常粗鲁的游客前往他们为奥运会租住的公寓——这是一份让她在城市中四处奔波的高压力工作。她唯一的慰藉就是摘下助听器，凝视莫奈的《睡莲》。然而，当她遇到一位自由奔放的年轻旅行者（Alex Lawther饰）时，一切都发生了改变。这位年轻人为伊丽莎白的生活带来了急需的快乐和冒险，而他们周围的这座城市则充满了活力。

When the mysterious deep space research vessel USCSS Maginot crash-lands on Earth, Wendy and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet's greatest threat. Go behind the scenes on the set of FX's Alien: Earth and see what's in store for humanity when technology and biology collide - with deadly consequences.

Celebrate Disney+ Day with a special look at the Star Wars original series Andor.

内森（阿萨·巴特菲尔德 饰演）是一个有见解的大男孩，身为数学天才的他因其天赋而到中国参加奥林匹克竞赛，并与一位中国姑娘产生爱情，他纠结于学业以及爱情之中，经历了青年人的成长与蜕变。

讲述电影《异形》三十年前的故事，探索地球上维兰德·汤谷公司的崛起。

一艘神秘的宇航飞行器坠毁在地球，一名年轻女子（西德尼·钱德勒 饰）与一支杂牌军团有了重大发现，他们将直接面临这个星球最可怕的威胁。

在20世纪30年代的欧洲某地，孤僻的Albert Scellinc受雇照顾10岁的Mia。他最重要的任务是照料她的冰假牙，这些假牙需要每天都要换好几次。他们单独住在一间大公寓里：百叶窗总是拉着，Mia从不离开，每天都是一成不变。每周，电话铃声会响起，一个男声会询问Albert女孩的健康状况，Albert每周都会用同样的答案来回答，直到有一天，那个声音告诉Albert，他必须坐着火车把女孩带到巴黎去。Albert伤心欲绝，他感觉他的世界在他身边慢慢解体了。该片已在比利时开拍。

詹姆斯表面看来是一个其貌不扬的17岁男孩，实际上，年纪轻轻的他自诩为变态，并且以此为荣，他不仅毫无恐惧的伤害自己的身体，还以残杀小动物为乐。在学校里，詹姆斯邂逅了名为艾丽莎的女孩，这个抑郁厌世，骨子里又带着叛逆的姑娘吸引了詹姆斯的注意。詹姆斯决定让她成为自己第一个杀掉的人。就这样，詹姆斯开始接近艾丽莎，很快两人就开始了交往。在某一次约会中，詹姆斯决定执行他的杀人计划，哪知道却在误打误撞之中目睹了艾丽莎和继父争吵的场面。艾丽莎痛恨这个小镇，痛恨自己的生活，她邀请詹姆斯和她一起逃离这里，去寻找自己的生父。

A young man is forced to confront an uninvited and ever-present narrator. A touching comedy about brotherly devotion, cinematic viewpoints and the necessity of growing up because, at some point, boobs sound cool.

This drama documentary for cinema explores the pacifism that was such a powerful influence on composer Benjamin Britten’s life and work. The story begins in 1929 at Gresham’s School in Norfolk, England. The brilliant seventeen year old Alex Lawther, playing the schoolboy Ben Britten and a group of fine young professional actors take us into a world which still resonates with the horrors of the First World War, where pupils are encouraged to address social and political issues and Benjamin Britten’s hatred of all things militaristic is forged. Gresham’s inspirational head of history, Simon Kinder explains that many of the boys in 1929 became communists, in part as a reaction to the threat of fascism. We see the young Donald Maclean, later to attain notoriety as one of the Cambridge spies, reading aloud from his strongly left wing short story.
Britten must have known Maclean, but his name doesn’t appear in his diaries, whilst those of Oliver Berthoud, Peter Floud and David Layton do, frequently and we depict those friendships throughout the film. We see Ben’s sadness at the departure to Oxford University of Oliver Berthoud, who had played chamber music with him, we witness the pleasure Ben took in the company of the scholarly Peter Floud and we join cricket practice with Ben and David Layton, where Ben watches the Officers Training Corps at drill and proclaims that he hates the marching, the uniforms and all that it stands for.
As we explore the music that illustrates Ben’s growing pacifism, illustrated by performances and unique observations from experts and friends, we frequently return to these dramatic interludes at Gresham’s, which cement the narrative – spoken by legendary actor John Hurt. Its clear that Ben has already decided that he will become a professional composer and that school and Music College are in a way obstacles to be got past in order to achieve that ambition.
After leaving the Royal College of Music in 1933, Ben embarks upon his career, rapidly attaining success – initially working with Christopher Isherwood and W.H. Auden writing music for the left wing Group Theatre. His flirtation with communism is further extended by writing the ‘Russian Funeral’, for the communist composer Alan Bush – performed in the film by the Gresham’s School brass group. He also composes incidental music and songs for communist playwright Montagu Slater – performed for the first time since 1936 by the Gresham’s senior choir with soloist James Gilchrist.
With the first movement of the Sinfonia da Requiem as background, we follow Ben’s journey to America with his life partner, Peter Pears in 1939 and their return to England in 1942, where both are granted non combatant status and Ben begins work on his groundbreaking opera ‘Peter Grimes’. We flashback to more scenes of young Ben, imagining the fate of the bright faced young cadets of the officer training corps and illustrated by First World War collages from artist Patience Foster.
The contemporary performances of ‘Oh My Blacke Soule’ from the Holy Sonnets of John Donne by tenor James Gilchrist and pianist Iain Burnside and the first movement of the second string quartet by the Benyounes Quartet illustrate Ben’s anguish at having witnessed the horrors of Belsen, where he accompanied violinist Yehudi Menuhin in 1945 and which profoundly influenced his adoption of a ‘pure’ pacifism. The flirtation with communism is finished, but the quest for peace remains with him until the end of his life.
One of the last survivors of the Auschwitz women’s orchestra, Anita Lasker Wallfisch tells us about being a member of the audience at Belsen, when Ben and Menuhin performed and only long after realising that the extraordinary young pianist she had so admired was Benjamin Britten, who she worked for as a cellist in his ‘house band’ the English Chamber Orchestra. She also recounts a hilarious and drunken lunch party the ECO cello section gave for Rostropovich and Ben and Peter Pears’ agent for many years, Sue Phipps, tells us how ‘Slava’ as he was universally known brought a new lease of life to the by now establishment composer from the early sixties. But although as he said; ‘one tends to become more conservative as one gets older’, Ben remains committed to membership of many peace organisations including the Peace Pledge Union, CND and the now defunct Fellowship Party.
International ‘cellist Raphael Wallfisch explains how the relationship with Slava created much of the finest of Ben’s later work, including the First ‘Cello suite, two movements of which Raphael performs, whilst tracing their genesis back to the pacifist composer Frank Bridge – Ben’s first and most influential composition teacher.
The transcendent music of the end of the War Requiem accompanies the climax of the film, commencing with interior and exterior shots at Ors, Northern France of La Maison Forèstiere, the uniquely atmospheric installation created by conceptual artist Simon Patterson from the shell of the house where poet Wilfred Owen spent his last night before being killed – days before the end of the First World War. Nine of Owens’s poems feature in War Requiem and from La Maison we go to the poet’s grave in Ors and then on to the war cemetery at Tyne Cot, near Passchendale , where we linger amongst the twelve thousand graves and thirty five thousand names of the dead of Flanders.
As a postscript, John Hurt speaks to camera about Ben’s supposed cruelty to people in his orbit and he and Sue Phipps come to the conclusion that for this supremely gifted composer the music always had to come first – music that resonates now more than ever. As testament to this affirmation, the Gresham’s School senior choir perform the haunting ‘Hymn to the Virgin’ written by Ben in 1939 during one of his many spells in the school sanatorium. As their fresh young voices soar, we once more remember Ben at school – an ordinary boy whose extraordinary gifts are being celebrated throughout the world in this centenary year of his birth.

Alex arrives uninvited to a party and after a set of excruciating interactions with other guests,is forced to recount a memorable dream he has had. A meditation on oneiric experience in cinema, mental health, talking dogs and fishermen.

这部翻拍自《Cyrano de Bergerac》的校园片，把故事背景定在一所名为Caldermount的全男生寄宿学校，这所学校对体育成就的重视远远超过学术能力。笨拙但富有想像力的学生Amberson来自社会的最底层，当来访的法国老师那充满激情的女儿Agnes出现时，他的世界完全为之倾倒。即便如此，他仍为Agnes和英俊但极其愚蠢的学校体育英雄Winchester做媒。到底最后Amberson会否有勇气向她表明心迹，为自己挺身而出？

诺曼骑士让·德·卡罗斯打仗归来后，指控好友雅克·勒·格里斯强奸了他的妻子。但因为没有人相信他说的话，所以他请求法国国王介入，而国王的决定则是让这对好友为此决一死战。

告别一个阶段、离开一段关係、再见曾经的生活，从来都是漫长的过程。接受需要时间、重生需要勇气，最后的再见，总要一步一步走过去。婚姻来到尽头的母亲跟自己的儿子，来到法国南部的渡假屋作最后执拾，准备向这间满载幸福回忆的大屋诀别。还在哀悼逝去感情的妈妈，跟儿子关係渐变疏离。面对明媚却寂静的风光，一名男子的出现，为二人带来不同程度的震盪，美丽的记下了婚姻的终结、少年时代的告终和一个中产家庭的瓦解。

故事发生在第一次世界大战结束之后，艾伦（多姆纳尔·格里森 Domhnall Gleeson 饰）完成了自己保家卫国的使命，重新回归了平静的生活之中。艾伦希望执笔重新开始写作，用文字给这个社会带来一份力量，但很快他就发现，自己似乎已经丧失了写作的能力了。与此同时，可怕的战争给艾伦的心灵带来了极大的创伤，导致他一直在被应激症折磨。
无奈之下，艾伦带着妻子德芙妮（玛歌特·罗比 Margot Robbie 饰）举家搬到了乡下，希望那里优美的景色能够治愈他受伤的灵魂。儿子比利（威尔·提尔逊 Will Tilston 饰）和他挚爱的玩具小熊带给了艾伦无限的灵感，令他开始创作童书《小熊维尼》。