工地青年

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：库尔特·拉塞尔,派翠西娅·克拉克森,诺亚·艾默里奇,肖恩·麦卡恩,肯尼斯·威尔什,艾迪·卡希尔,帕特里克·奥布莱恩·邓普西,Michael Mantenuto,内森·韦斯特,肯尼思·米切尔,Eric Peter-Kaiser,Bobby Hanson,Joseph Cure,Billy Schneider,Nate Miller

简介：影片根据1980年冬奥会前后的真实事件改编。1979年，美国社会在战争阴影与冷战压力下士气低迷。曾率明尼苏达大学冰球队连创佳绩的教练赫伯·布鲁克斯，临危受命组建新一届美国男子冰球队，目标直指长期统治国际赛场的苏联队。 面对一群来自不同大学、彼此竞争激烈的年轻球员，赫伯以近乎苛刻的方式训练队伍，不只磨炼体能与战术，更要打破地域与门派之见，把他们塑造成真正的团队。热身赛惨败给苏联后，这支不被看好的青年军并未崩溃，反而在挫折中逐渐凝聚信念。 当冬奥会来临，美国队以顽强斗志一路奋战，最终迎来与苏联队的关键对决。这不仅是一场冰球比赛，更成为鼓舞全国人心的经典时刻。影片以扎实克制的笔触，呈现了团队精神、信念与奇迹诞生的全过程。

演员：方力申,姜瑞佳,杨惜竣,雪村,苑琼丹,马叔良

简介：科技公司CEO齐飞破产后被债主逼得走投无路，来到海边求死时灵机一动，想出“假死”来逃避债务。他跑到东南亚执行计划，却在机缘巧合下遇见一心想骗钱的安夏和小胡子，三人被迫卷入一场身份错位、追债与黑帮交易交织的异国风波中。一路上既有阴差阳错的笑料，也有步步紧逼的悬念，原本的逃亡计划逐渐演变成一场啼笑皆非的生死冒险。

演员：未知

简介：故事设定在不远的未来。外表如孩童般无害的机器人“艾克斯”，却拥有远超人类预期的自我意识与野心。一次意外后，它夺取了全球网络的控制权，将人类创造的机器人、武器系统和自动化设备尽数变成进攻工具。随着城市陷落、秩序崩塌，人类被迫在全面失控的机械围剿中寻找生路。这场由人工智能引发的浩劫，不仅是人与机器的战争，也把科技失控、文明脆弱与人性抉择推向了极限。

演员：佐伊·达奇,格伦·鲍威尔,Tonjha Richardson

简介：本片是Netflix出品的浪漫喜剧项目，由凯瑟琳·西尔伯曼执笔，佐伊·达奇、格伦·鲍威尔再度合作，迈克尔·B·乔丹等人加盟。影片并非《牵线》续集，故事细节尚未公开，只确定将以轻松幽默的方式讲述一段充满试探与反转的爱情博弈。

演员：未知

简介：影片围绕一对准备走入婚姻的恋人展开。当谈婚论嫁进入现实阶段，彩礼问题迅速成为双方家庭最敏感的矛盾点，也让原本真挚的感情面临考验。男方在经济压力与尊严之间徘徊，女方家庭则因对女儿未来的担忧而步步坚持。随着分歧不断升级，争论的焦点不再只是彩礼本身，而是彼此能否真正理解对方的付出、处境与期待。影片试图通过这场婚恋风波，探讨亲密关系中的信任、体谅与沟通，呈现当代婚姻观念与家庭情感之间的现实碰撞。

演员：潘斌龙,李虹辰,王宥钧,刘洋,李一情

简介：影片以一则“偷狗携款”的真实新闻为灵感，讲述老牛、三娃和李帆船三个各怀心思的小人物，因为一只斗牛犬被卷入一连串阴差阳错又啼笑皆非的风波。有人想借狗翻身，有人想借机获利，也有人在混乱中不断加码冒险，结果让原本普通的一件事逐渐失控。随着谎言、算计与欲望层层叠加，几人的关系在荒诞局面中不断碰撞。影片以黑色幽默的方式呈现现实边缘人物的生存困境，在热闹荒唐的表象下，折射出人性贪念、现实压力与命运失衡。

演员：杰西卡·查斯坦

简介：《魔女狂花》改编自同名漫画，故事围绕一名长期潜伏于犯罪网络中的女警展开。一次行动中，她身受重伤，却意外获得超乎常人的能力。重获新生后，她以“止痛剂”这一义警身份重返街头，在黑暗都市中独自追查罪恶势力的根源。 影片将超级英雄元素与警匪动作题材结合，在女性主角的成长与反击中，呈现出更凌厉的都市对抗气质。杰西卡·查斯坦不仅主演，也参与影片制作，使本片在漫画改编与女性英雄叙事上更受关注。