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Paul is an average guy. He likes movies, and pizza, and average guy things. He does not like - musicals. But Paul's small world is about to come crashing down under the weight of unspeakable terror. Now he must run, run for his life, as something sinister spreads, and grows, and sings, and dances. The town of Hatchetfield is plunged into a musical hell in - 'The Guy Who Didn't Like Musicals!'

当格洛(luò )克 (马(❄)蒂(📤)·(🐐)施(🍫)密(🎠)特-夏(xià )勒饰)点燃一个臭(chòu )名昭著的皮条客的(de )SUV时，他被抓住并被(bè(🛣)i )拍(🍈)摄(👶)了(🐮)视(😴)频。他(tā )设(shè )法离开后，视频(pín )仍在网上疯传。他(tā )自发地加入了一(💸)个(👮)(gè(⛸) )通(🍀)过互联网认识(shí )的辍学者小组。他(tā )们寻找着弗里德里(lǐ )希，这个人(⛄)住(🧐)在(🏸)(zà(🏧)i )山区，并宣称自己(jǐ )的未来会身处大自(zì )然的怀抱之中。一开始，格洛(📔)克(🚓)、(🚢)朱(🔇)蒂丝、斯特菲、埃利亚斯和保罗(luó )只感受到了满满的(de )自由和幸(🎪)福(📴)，他(🖥)们(🎢)(men )觉(🕠)得弗里德里希(xī )的(de )愿景可以实现。

《拳职妈妈》讲述(shù )了一位伟大的(🔖)拳(🔻)击(💏)(jī(🎁) )手母亲为了鼓励(lì )儿子成为一个顶天(tiān )立地的男子汉，带(dài )着患有(👏)癌(😡)症(🐔)的(👤)身(shēn )体去参加拳击比赛(sài )，最终儿子受到激(jī )励，成长为男子(zǐ )汉的(🌝)励(😽)志(🎋)故(💩)事。

BOI is a young man just starting out as a private chauffeur. Whilst anxiously awaiting his girlfriend’s decision about a certain life-changing matter, he has to accompany his first ever clients: Michael and Gordon. Two Chinese businessmen who have come to Barcelona with the aim of closing, in under 48 hours, a multi-million dollar contract with an American magnate. They’ll help each other, as they set out together on a journey to the edge, in a world in which dreams wander like an ownerless dog, pistols and prostitutes don’t do what they’re meant to do, and the questions have yet to find answers. But as long as there’s a reasonable amount of blood, then there’s nothing to worry about.

When a couple visits a remote cabin and cross paths with a compulsive liar, their vacation takes a dramatic turn for the worse.

Goliat is set in a small industrial town somewhere in Sweden. When Roland is sentenced to prison, his son, 17-year old Kimmie, is expected to provide for the family by taking over his dad's criminal business. This is a task he's not ready for. The film's depicting a boy's brutal entry into adult life and examines aspects of social heritage and patriarchal structures, at a time when the welfare is declining and Sweden is changing.

“没有(yǒu )名字的我，没有(yǒu )未来的她”