不按牌理出牌的刑警朱坡，是破案王、也是品味卓绝的美食家；生无可恋的完美杀手黎子东，将每道食物都视为人生最后一餐，极其讲究；菜鸟警察吴薇，外表瘦弱、个性直爽，却深藏不为人知的秘密。某个冬夜，朱坡、黎子东在一家热门餐厅被迫并桌，懂吃的两人对美食各有坚持，暗中较劲又暗地里互相欣赏，还随着吴薇的加入激起更强烈的火花，结下同桌共餐的奇妙情谊。三人的命运因美食紧紧牵系，随着最后一顿饭的落幕，残酷的真相也随之揭晓。

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简介：暑假期间，六十中学在驻军某部的帮助下，举办了一次拥抱大自然的夏令营活动。叶凡、吴浩、葛强三位同学因家长不同意，没有参加上这次活动。于是，他们密谋追赶夏令营并离家出走……

主演：张智霖,朱茵,李铭顺,李立群,吴佳尼,陈龙,郭妃丽

简介：武林之中，“如来神掌”和“天蚕神功”被称为传奇，失传已久。一晃眼三百年过去，“如来神掌”重出江湖掀起了一场腥风血雨，人人都知道，只要夺得了如来神掌的秘籍，即是获得了掌控武林的金钥匙。　　段飞（张智霖饰）出身贫寒，又因为见义勇为而被人捉住了把柄失去了赖以生存的工作和住所，无奈之下，他只得投靠与自己有过一面之缘的老人火云邪神（孙兴饰），却不知这位看似平凡的老人竟然就是江湖上人人得而诛之的魔头。一次偶然中，段飞邂逅了孤苦伶仃的屠雪华（朱茵饰），两人渐渐坠入情网。某日，天蚕神功惊现江湖，而无辜的段飞再一次因此而背负上了不白之冤。

2002

如来神掌

主演：张智霖,朱茵,李铭顺,李立群,吴佳尼,陈龙,郭妃丽

简介：二十世纪初叶，一场洪水，滔天而至，文阿陆与母亲在大水中天人永隔，徒留伤悲。三年后，某夜，广州府。月黑风高，“华清”浴室发生枪战，“聚源社”“义水轩”帮主双双死于乱枪之中。小裁缝文阿陆无意中撞见这一幕，平白无故惹上杀身祸，被赶来营救社主却误杀了社主的聚源社三当家于义龙，当场要灭口文阿陆仓惶奔逃，走投无路。幸遇“岭南”洋学堂女学生宋芳华救助脱离险境。宋芳华刚公演“哈姆雷特”未卸妆，夜色中被文阿陆误认为俊美少年。文阿陆返回裁缝店，向两小无猜的师父女儿万心莲诉说奇遇，万心莲早已心许文阿陆，对宋芳华心怀感激，催促文阿陆去面谢救命之恩。

简介：传统手工艺的延续靠的就是传帮带的这种古老传承方式，在老一辈手工艺者渐渐老去，新的一代行业里的年轻人正在撑起传承的大旗。为了适应社会的需求，“传”、“承”两代人最大的区别就在于新人为了生存，不甘于用传统的思维方式行事，而是紧跟时代的脚步，迎合市场，迎合社会需求。在这过程中，他们也有迷惘、也有困顿，甚至为了生存而挣扎，但他们在一步步地往前行。正是这些人的存在，“传”与“承”得到了延续，古老的传统手工艺才得以生存、发展。

　　The film accompanies Magaye Niyang, a star of Touki-Bouki, a 1972 classic directed by her own uncle Djibril Diop. Following this path, we are witness of Niyang travel to a special screening of the film, which has a public release in his old town. Niyang seems detached and with a heavy longing from the past, and therefore, the film debris permeates everything with unescapable sorrow and fascination.
　　Diop film is, first and foremost, a nostalgic travel through memory, time and recreation. It is also a watermark in contemporary experimental documentary, a very intimate portrait of a lost long journey through the past that isn’t returning anymore, a detachment of rejected fame, recognition and connection which is heavily grounded on a legacy that belongs to the past, and that connects directly to a country (Senegal) and its heritage, which is sometimes feel excruciating for the old ones (a testimony such as the taxi scene in the film, where the cab driver longs for changes, and claims that the old generation had done nothing for that).
　　Mille Soleils (A Thousand Suns) and, in itself, Mati Diop’s crucial talent, should be a point of reference into what could easily be one of the most interesting proposals of hybrid documentary cinema which has come from France, and which deals with a strong African heritage. Since 35 Rhums, where she proved her actress talent, Diop seems like a true promise for the following years of cinema.