红手指

「变成女生的狮音什么的…超级兴奋啊」 狮音和瑠依是搭讪成功率No.1的黄金组合。 今晚本来也要和女孩子一起打情骂俏的，但狮音被来历不明的女生下药了。 数小时后，一觉醒来居然变成了女生！？ 另一边，来找迟迟未归的狮音的瑠依，一看见女孩子姿态的狮音，雄性开关就打开了。 在没察觉到她是狮音的情况下就开始泡她了… 又蠢又可爱的性转恋爱喜剧开始了！！

庆州，一家居酒屋的女老板。她离婚的最好的朋友来她家住。下班后，庆珠会和年轻英俊的男性兼职人员发生性关系来宠爱自己。两名希望通过年轻兼职人员来照顾自己健康的妇女正在等待生意结束

真子许久未回家乡朋友家，引诱了朋友的儿子义雄，义雄的目光始终没有离开她的胸部，真子通过身体接触和玩弄天真的义雄来挑逗他。即使在朋友面前也不会停下来并寻找机会的 Mako。即使感受到 Mako 冲动的触摸，Yoshio 也难以忍受。此后，义雄深深地爱上了真子，但随着真子离开的日子临近，两人却在绝望的心情下，在厨房里展开了一场激情的恋爱

尼克和诺亚的关系正处于最美好的时刻。然而，这对恋人似乎再也无法回到从前。一系列事件将接踵而至，让他们最终明白彼此是否真正适合对方。或者，相反地，他们会发现最好的选择是分道扬镳，即便要忘记如此深刻的爱或抹去烙印在心上的记忆是那么困难。爱并非总是足够，而原谅有时也不足以修复一切。他们能否放下过去，重新开始呢？

When Outlaws on the lam invade the home of an unsuspecting, seemingly innocent, frontier family to hide out for the night, an unexpected game of cat and mouse ensues, leading to seduction, role reversal, and ultimately, bloody revenge.rn当亡命徒闯入毫无防备，看似无辜的家，身居边境的家庭趁夜逃离，猫鼠游戏却节外生枝，诱导迷惑，角色转换，最终，是血腥的复仇。

1942年，抗日战争与第二次世界大战正处于白热化阶段。燎原之火，生灵涂炭，天灾人祸，哀鸿遍野。当军事家和政治家的目光聚焦在一城一郭的征伐劫掠之时，几乎鲜少有人注意到古老的中原河南正爆发一场惨绝人寰的大旱灾。影片的主角老东家（张国立 饰），狡猾、市侩，典型的封建地主，可即便如此也无法对抗这史无前例的灾难，他被迫逃荒，亲眼见证着儿子、儿媳、老伴等亲人的种种死状。他的遭遇是三百万灾民的缩影，面对这群人的苦难，无论是高高在上的蒋委员长（陈道明 饰），还是深入民间报道灾难真相的美国记者白修德（阿德里安•布劳迪 Adrien Brody 饰），以及海内外的每一个人，如何能从这眼前的人间炼狱之景侧目。绝望无止的逃生坎途，中华民族多舛命运的苦难一斑……本片根据刘震云的小说《温故一九四二》改编。

　　Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey.
　　In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.
　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.