亚人

演员：詹妮弗·洛芙·休伊特,丹尼尔·艾瑞克·高德,米凯拉·麦克曼努斯,玛德琳·卡罗尔,阿丽夏·维加,杰米·肯尼迪

简介：故事发生在美国西费城一家普通却热闹的社区咖啡馆。这里每天迎来形形色色的客人，他们带着各自的烦恼、秘密与期待，在短暂停留中与彼此的人生悄然交汇。起初，大家只是互不相干的常客与店员，但当咖啡馆周边社区爆发罢工后，原本平静的日常被打破，人与人之间潜藏的联系也逐渐浮出水面。随着局势变化，每个人都不得不重新审视自己的处境、选择和情感。影片以温和细腻的群像方式，展现都市生活中人与人之间脆弱却真实的联结，以及一间小小咖啡馆如何成为承载冲突、理解与慰藉的空间。

演员：蒲巴甲

简介：雪域王国里，王子拉摩洛丹在父王离世后，目睹母后迅速改嫁叔父克洛朗，内心震动难平。随后，父王亡魂现身，指认自己死于兄弟谋害，令拉摩洛丹从悲恸转向复仇。可在追查真相与报仇过程中，他不断遭到母后阻拦，也被权力、爱情与愤怒裹挟。一次失控之下，他误杀恋人奥萨鲁央的父亲，被流放远方，恋人也因此香消玉殒。流亡途中，拉摩洛丹结识异国公主，开始重新审视仇恨与命运。然而故土的血债并未终结，奥萨鲁央的兄长誓要讨回公道。就在新一轮冲突爆发之际，隐藏多年的身世秘密浮出水面：克洛朗竟是拉摩洛丹的生父，王室悲剧背后另有更复杂的旧怨。面对真相，王子必须在复仇、宽恕与自我救赎之间作出选择。

演员：濮存昕,李建群,尹治,胡光子,刘伟明

简介：影片以李叔同的人生转折为主线，展现这位艺术大家如何从风华正茂的留日学子，走向一代高僧弘一法师。学成归国后，李叔同满怀热情投身时代洪流，见证辛亥革命后的新气象，也很快目睹时局动荡、理想受挫。在现实巨变中，他逐渐由报人、教师转向潜心艺术教育，培养出丰子恺、刘质平等后来颇具影响力的人才。随着内心对佛学的不断亲近，李叔同最终剃度出家，法号弘一。此后，他在清修与弘法中坚守精神信念，也始终没有远离民族命运。抗战时期，身患重病的弘一法师仍以自己的方式参与救亡，以悲悯胸怀和坚定意志走完人生最后一程。影片将个人修行、艺术追求与时代风云交织，勾勒出一位传奇人物由俗入佛、由才情走向大爱的生命历程。

演员：大森南朋,松雪泰子,宫迫博之,忍成修吾

简介：一名隶属北海道警队的警察被发现死于车中，现场疑点重重，却很快被定性为自杀。案件看似尘埃落定，实则牵出警界内部难以言说的秘密。刑警在追查过程中不断遭遇来自体制内外的阻力，证词互相矛盾，线索也一次次被人为切断。 随着调查深入，一宗表面普通的死亡事件逐渐演变成涉及警方高层、组织责任与个人良知的复杂案件。每个相关者都像戴着面具，在沉默、谎言与自保之间周旋。面对不断扩大的阴影，调查者不得不在职责与危险之间做出选择，试图还原事件全貌，并逼近那个隐藏在权力缝隙中的真相。

演员：查理·考克斯,韦斯·本特利,多格雷·斯科特,罗德里戈·桑托罗,詹迪·莫拉,德里克·雅各比,格什菲·法拉哈尼,杰拉丁·卓别林,乌纳克斯·乌加尔德,安娜·托伦特,查尔斯·丹斯,莉莉·科尔,欧嘉·柯瑞兰寇,Alejandro Casaseca,Yaiza Guimaré,卡洛斯·李尔,阿方索·巴萨维,扬·科奈特,迈克尔·菲斯特,Lito Cruz,冈萨洛·拉莫斯,Marcos Montes,Abian Vainstein,Fabián Stratas,Fernando Margenet

简介：影片以一名记者追查宗教人物约瑟玛利亚的生平为引，逐步揭开一段横跨西班牙内战年代的往事。约瑟玛利亚与马奥洛自幼相识，曾是亲密无间的朋友，也一同在神学院求学。然而时代动荡、理想分裂，两人最终走上完全不同的道路：约瑟玛利亚选择坚守信仰，将人生奉献给宗教使命；马奥洛则被现实与战火裹挟，投身冲突前线。多年后，记者在追寻真相的过程中，不仅重新拼接出他们破碎的友情，也触及战争、爱情、背叛与救赎交织的人生命题。影片借个人命运映照大时代创伤，呈现信念与人性之间的艰难抉择。

演员：成海璃子,北乃绮,石黑英雄,荒井萌,山下莉绪,高木古都,贺来贤人,波瑠,古村比吕,堀部圭亮,小木茂光,板尾创路

简介：剑道少女矶山香织自幼接受严格训练，性格认真执拗，在初中全国大赛上却意外败给名不见经传的甲本早苗。这场失利让她难以释怀，也促使她报考早苗所在的东松学院高中，只为有朝一日堂堂正正地赢回一场。 与香织的严谨克制不同，早苗开朗随和、待人真诚，即使成长经历并不圆满，依旧以乐观姿态面对生活。香织将她视作必须超越的对手，早苗却并未沉溺于胜负，反而主动靠近，与她成为朋友。 在朝夕相处与共同训练中，两个性格迥异的女孩不断碰撞，也彼此影响。她们一边面对比赛压力，一边重新理解友情、家庭与自我价值，最终携手走向全国夏季大赛。影片根据誉田哲也同名小说改编，以剑道为线索，描绘了少女在竞争中成长、在对抗中学会理解的青春历程。

演员：松野井雅,霞理沙,樱木凛,原口大辅

简介：就职受挫的黄味岛一边做搬家临时工，一边准备进入正式职场。一次工作中，他偶然结识了美丽的佳那，并在意外与冲动之下与对方发生了一夜情。没想到几天后，黄味岛前往公司参加面试时，竟发现佳那正是面试官。此后他顺利入职，却又在新岗位上成为佳那的下属，让这段原本隐秘又尴尬的关系变得更加复杂。 随着工作展开，黄味岛一面适应社会人的新生活，一面在佳那若即若离的态度中反复揣测对方心意。与此同时，他又与夜场女子紫苑发生纠葛，情感和欲望不断交错，使他的职场处境与私人生活愈发混乱。影片围绕男女之间暧昧、欲望与身份落差展开，以轻喜剧式情节包裹成人情爱关系，呈现主人公在爱情、职场与自我选择之间的摇摆与失衡。

演员：有村架纯,森田刚,矶村勇斗,槙田雄司,中川雅也,木村多江,若叶龙也,石桥静河

简介：阿川佳代是一名年轻的保护司，以志愿者身份长期陪伴有犯罪前科的人重新融入社会。她看似平凡，却始终认真倾听、耐心守护，努力在制度与现实之间为这些“前科者”争取一次重新开始的机会。随着她接触的人越来越多，佳代逐渐看见他们在就业、家庭关系、社会偏见与自我怀疑中的重重困境，也意识到“改过自新”从来不是一句轻飘飘的口号。某起事件发生后，佳代被迫直面更残酷的现实：当善意无法立刻改变命运，人是否还能相信救赎的可能。影片以冷静克制的笔触，描摹边缘人群艰难求生的处境，也呈现出保护与被保护者之间微弱却珍贵的信任。

演员：彭田苗,冯 锐,蒋逸飞,胡曙凡,刘 曦,景若虹,吴 荫,沈培均

简介：《不敢说再见》以大学毕业前夕为背景，讲述一群即将离开校园的年轻人，在人生分岔口上各自奔赴未来的故事。有人准备考研，有人忙着找工作，有人计划出国，看似明确的方向背后，却都藏着现实压力、情感波动与对未知前路的不安。 随着毕业时间临近，朝夕相处四年的同学和朋友不得不面对分别。曾经熟悉的教室、宿舍与校园角落，也在离校倒计时中被赋予了更多不舍与回忆。影片以朴素的视角记录青春尾声，把理想与现实的碰撞、友情与爱情的留恋，以及成长必经的告别，浓缩成一段关于毕业季的集体记忆。

演员：亨瑞克·拉斐尔森,Egil Birkeland,Kim Eidhagen,Solvei Grimen Fosse

简介：三十出头的亨里克即将成为父亲，却迟迟无法进入“成年人”的角色。外表漫不经心、行为玩世不恭的他，总想用玩笑和任性维持青春幻觉，把责任与承诺抛在身后。面对伴侣、家庭和即将到来的新生活，他不断逃避，也因此显得格外不可靠。 然而，亨里克的轻浮与戏谑并不只是幼稚，更像是他掩饰不安与脆弱的外壳。影片以冷幽默和讽刺笔触，描摹一个男人在步入人生新阶段时的失衡与惶惑，也写出普通人在成长面前的无措。荒诞表象之下，是对男性成熟、家庭责任与自我认同的细腻观察。

演员：刘婷

简介：《我本佳人》目前公开可核实到的信息较少。现有片源页显示，这是一部以刘婷真实经历为核心的剧情向影视作品，内容围绕其在完成长期性别转换手术后，以新的身份重新面对社会、家庭与自我认同展开。影片借由个人命运的巨大转折，呈现身份选择、社会目光、情感压力与重建生活的复杂过程，整体主题偏向现实关怀与人物成长。由于未检索到与用户所给“2024年大陆剧情电影”完全一致、且信息更完整的权威词条，部分演职员与上映信息暂无法确认。

演员：Bernd Feuerhelm,Berryt Bohlen,Ernst Kuchling,Volker Eschke,Michael Bolze,Steven Adamczewski,Dietmar Kracht,Norbert Losch,Manfred Salzgeber

简介：It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives (Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt) is the earnest title of Rosa von Praunheim’s 1971 PG-chaste first feature, which has aged like good cheese from a scandalous sensation (a political wakeup call to gays) into a textbook example of classic camp—and a delightful time warp trip through queer cliché. The very colorful color film (shot MOS) opens with von Praunheim’s camera trailing two fags—one blonde, one brunette—walking down a sunny Berlin street. Daniel, the shy brunette, is new to the big city and blonde Clemens is generously offering him a place to stay. (We know this by the heavily German-accented English, dubbed and spoken in a “Sprockets” cadence.) “It’s so hard to find someone who’s sincere,” Clemens’ voice says as they cuddle on his bed back at the apartment. “I really dig you.” Then, from out of nowhere, a grave, German-accented, Moses-like voiceover explains that “faggots long for loving relationships”, but “live in a dream world of glossy magazines and Hollywood movies.” Now naked in bed with Daniel, Clemens proclaims, “I’d like to throw the window open and show the whole world how wonderful it is when two men are in love!” And so it goes. Daniel fusses over his hair in the mirror while Clemens’ heartsick Teutonic voice narrates their newfound domestic bliss. “Every hour and minute I spent alone was torture for me.” Luckily, the lovebirds spend plenty of time doing things like “watching television to further our education” and housecleaning together. They also read or write letters. “Dear Mother,” Daniel’s voice begins. But alas, as Clemens stares into a cabinet chock full of knickknacks, that damn nagging Moses voiceover returns. “Faggots try to imitate middle class marriage,” he hisses, holding forth on the subject of men taught to be in competition with one another, to be self-involved—dooming the faggot relationship. Next thing you know, Daniel’s sad voice sighs, “Four months have passed. I’ve decided to leave Clemens.” Then a jaunty, genial German narrator intones, “Daniel was often cruised by a well-to-do man.” And there’s girlfriend strolling along with the tight-panted “benefactor at his country estate!” As they stop for a glass of champagne beside a statue, Moses abruptly thunders about the myth that the homosexual’s “interest in the arts is a way to make life more bearable,” when in reality “the arts are a tool for the rich and powerful,” for it makes it “much easier to get them into bed.” Cut to a piano and a wild-eyed fag singing about Deutschland! Nearby, the benefactor plays with his ascot, a gaudy silver ring in the shape of an insect on his finger. The camera pulls back and pans around the roomful of old queens respectfully listening to the recital. Moses announces, “Youth and good looks are tremendously important to old fags.” Like Hitchcock’s birds, the elderly Marys are suddenly swarming over poor Daniel—who gets nauseous and runs out the door. Then it’s off to an outdoor café—with a big sign reading “Moby Dick’s.” The genial German narrator informs that Daniel’s found a new job working at a “meeting place for homosexuals” where “conversations about film, fashion and physical culture give him ideas about how to fill his leisure time.” Moses butts in to add that faggots “gather to listen to Nina Simone, Judy Garland and Barbra Streisand” and “gather at Fire Island and San Francisco.” He intones, “Fashion has to be like a second skin that suggests the size of the cock.” A sissy saunters down the street in knee-high moccasins and shorts. Moses also warns, “The young fag must give up his interests for more homosexual interests.” And there’s Daniel sunning himself with his fellow homosexuals! Moses snipes, “He was entranced by his strong body and butch style” as a torso, hairy chest and tight blue jeans, appears in medium close up. The genial German offers, “Daniel could sit for hours and enjoy being cruised.” Then: “Wolfgang had a lot in common with Daniel” as the two mop-haired, mutton-chopped boys rub lotion on one another. But all is not well in fairyland. Moses brings news that Daniel has begun going to gay bars—is becoming addicted! And, yup, there’s Daniel, wandering around a dark and dingy hole. Moses explains, “It’s easy for faggots to find one another because they offer themselves on street corners like whores.” Cut to a queen having a hissy fit in front of the bar as another tries to calm her down, all while Moses holds forth on sad fags, how they don’t know how to use their sexual freedom for happiness, how their “greatest enemy is the conspicuous queen.” Two fairies in short shorts appear in the frame, fawning over two embarrassed fags. Moses laments, “Daniel now has no other interest than being a fag.” Cut to a motorcycle gang, leather boys cruising one another amongst the nighttime trees. They feel up each other’s zippers, chains, and studs—a clothed grope fest as Moses teaches that, other than “trans-westites, [who] long for women’s organs, leather freaks are the fags with the most hang-ups.” In fact, “The leather queers are really nice, polite people who suffer from their own weakness.” And that’s when Daniel, “bored with talking,” fatefully leaves the bar scene for the park where he “slowly made his way through the tense choreography of men.” (So sayeth Moses.) Cut to outside a public restroom (a “well-known meeting place”). Men who cruise restrooms “despise tearoom trade,” the voice of Moses trembles. Hustlers—“usually runaways from broken homes” who are “often not queer”—frequent these spots. (Assorted hustlers and fags mill about as a piece of rough trade stands like a sentinel in front of the door.) A group of queers emerge and pile circus-style into a car. An old fag cruises Daniel but strikes out (duh!) before getting beat up by rough trade. Next up: a drag queen singing in a mixed homo bar—a tattooed leather daddy staring stoically from a table nearby. And there’s Daniel! He’s “drowning himself in alcohol and cigarettes” while other fags try to “forget themselves in a frantic atmosphere”—i.e., a black guy and a white guy doing a chicken dance to “Rock Around The Clock”, which blares from the jukebox. An old yodeling queen appears. Daniel sees his friend Paul, asks if he can go back to his communal pad. And that’s where von Praunheim’s film finally reaches its climax—a psychotherapy session with a group of naked fags! Sitting in a circle, they berate Daniel in their dubbed voices. “You’ve become a real full time faggot!” “You’re becoming neurotic, a whore who doesn’t even get paid!” The Teutonic accents start calling for a gay pride awakening, a consciousness-raising “We’re here, we’re queer!” movement. “Queens and butches have to stop opposing and fight together side by side!” “Come out of the closet! Take to the streets!” “Erotically free! Socially involved!” The commentary continues even as the credits roll over a pink background—even as I can’t stop laughing over the “trans-westites,” leather freaks, and glorious tearoom trade.

演员：许晴,佟大为,李子雄,肖聪,吴孟达,王姬,洪剑涛

简介：女演员夏珊在山路车祸后陷入昏迷，意识却被带回百年前的动荡岁月。在那里，她仿佛与青年革命者林觉民相遇，也逐渐看见他与陈意映从相知、相恋到结为夫妻的过程。乱世之中，爱情与信仰彼此拉扯，个人命运被时代洪流裹挟，离别与牺牲接踵而至。随着记忆不断清晰，夏珊似乎在穿越时空的回望里，读懂了那封饱含深情的《与妻书》背后所承载的家国之痛与生死绝恋。影片根据龚应恬同名话剧改编。

演员：Moin Khan,Nyla Masood,Saagar Kale,Aneesha Shah,Damian D'Souza,Neha Bam,Nil Mani,Kaustubh Narain,Shilpa Iyer,Santosh Mohite,Pallas Prajapati,Jigna Khajuria,Sonali Singh,Dhanveer Singh

简介：24岁的理工科青年拉朱原本对未来另有打算，却因父亲身体抱恙，不得不暂时代班，在一栋高档公寓里做电梯员。日复一日机械地按楼层、接待住户，让他觉得这份工作单调又缺乏尊严，因此常常心不在焉，也与周围人格格不入。随着和各色住户的接触增多，尤其在几位长辈与同龄女孩的影响下，他开始看到电梯这一狭小空间里流动的人情味，也逐渐理解父亲多年坚守岗位的原因。一次短暂的代班经历，让他重新审视工作、家庭与自我价值，并在看似不起眼的岗位上收获了成长。

演员：雷夏电,刘汉钧,姚觉僧

简介：福民人寿保险公司的会计王玉生与妻子秀珍原本生活安稳。元宵节前，秀珍因赴友人傅美仙家聚会却无首饰可戴而感到难堪，王玉生便向珠宝商朋友借来一串珍珠项链。秀珍在宴会上因此大出风头，不料项链随后失窃。为归还原物，王玉生被迫挪用公款购置同样的项链，最终东窗事发入狱，家庭也由此陷入困顿。出狱后，他偶然发现当年真相，原来项链失窃与他人私心有关。随着真相揭开，风波终于平息。影片借一场由虚荣引发的灾祸，呈现了旧上海社会的人情冷暖与道德警示。

演员：郭晓东,李佳,香川照之

简介：偏远山村里，少女暖美丽灵动、性格俏皮，是许多年轻人暗自倾慕的对象，也让与她青梅竹马的井河始终难以忘怀。暖向往外面的世界，曾把希望寄托在偶然路过村子的戏班武生身上，盼着他能带自己离开，却终究只等来失落。一次与井河荡秋千时的意外，让她摔伤了腿，也改变了此后的人生轨迹。不久井河离开家乡，两人从此失去联系。十年后，井河回到故乡，再次见到昔日的暖，却发现她已跛着腿，神情黯淡，并嫁给了村里的哑巴。旧日情感、现实困境与迟来的重逢交织在一起，往昔的遗憾也在沉默中慢慢浮现。

演员：伊藤健太郎,玉城蒂娜,秋田汐梨,饭丰万理江

简介：改编自押见修造的同名漫画。迷恋波德莱尔《恶之花》的中学生春日高男，某天意外偷走班花佐伯奈奈子的体操服，不料这一幕被同班女生仲村佐和撞见。为了守住秘密，春日被仲村不断拿捏，渐渐卷入她古怪而危险的要求之中；与此同时，他对佐伯的迷恋也越陷越深。两个女孩、一个少年，在压抑的青春期里彼此试探、控制与失衡，最终将关系推向失控边缘。

演员：杰西卡·施瓦茨,托马斯·克莱舒曼,纪尧姆·德洛姆,玛瑞莎·赫毕格,海茵茨 ·霍尼格,卡尔海因兹·哈克尔,乔汉内斯·坦海泽,埃尔尼·曼戈尔德,艾丽西娅·冯·里特贝格,Stella Kunkat,桑德罗·洛曼,娜佳·鲍比列娃,Michaela Rosen,约阿希姆·保罗·阿斯波克,Alexandre Aubry

简介：影片以1982年的巴黎为切口，回望传奇女星罗密·施奈德跌宕起伏的一生。她因“茜茜公主”红遍欧洲，却始终难以摆脱这一银幕形象的束缚；她向往法国与更广阔的电影世界，也因此在故乡德国长期饱受误解与指责。随着事业、爱情与家庭接连遭遇重创，罗密在聚光灯外承受着难以言说的痛苦：婚姻破裂、亲人离世、旧日创伤反复袭来。影片通过她生命最后阶段的回望，展现一位国际影星在名望、舆论与私人悲剧之间的挣扎，勾勒出一个比明星标签更真实、更脆弱也更坚韧的罗密·施奈德。