黛安娜在亨利-皮埃尔·沃尔夫开设的一家大型跨国公司工作。这家公司的业务范围十分广泛，血溅从房地产到服装设计，血溅几乎无所不包，在各个领域内都颇为活跃。沃尔夫公司经过谈判收购了一家发行新式漫画的日本公司，他们研发出一种数码三维图像漫画，这种全新的漫画将完全改变目前市场的竞争局面。有两家公司争夺沃尔夫公司的这种新漫画在网上的发行权：漫画天堂和魔鬼情人。为了争取主动，漫画天堂请黛安娜做工业间谍，以获取关于魔鬼情人的情报资料。实际上魔鬼情人和一系列暴力与非法色情网页有密切关系，这势必要使它在竞争中处于不利位置，虽然目前沃尔夫公司还没有发现这一联系。黛安娜发现它也采取了相应的情报策略，而且就在她那些表面中立的同事中有它的间谍。她对这些黑暗的内幕了解得越多，渐渐成了魔鬼情人的眼中钉。如今，被卷入这场复杂纠葛中的黛安娜已经无路可退，她只能退入到网络的虚拟世界中。或许，她一开始就是这个虚拟世界的一部分。
刘恺威
回复 :新游轮“白鲸号”豪富云集，正举行除夕联欢会，热闹非凡。女侍应Chrisy于客人中穿梭往来，船上保安由不苟言笑的红狼负责。突然一艘快艇靠近游轮，匪徒迅速登船与早在船上乔装的汤臣里应外合。凭借先进的武器和狠毒的令人心寒的手段，匪徒们很快就取得了全船的控制权，其目的是要夺取船上偷运的生产核弹的坏元素……
钮榕
回复 :《回到原点》讲述的是一位事业有成的企业家与一位留守儿童之间演绎的情感文艺故事。企业家（万梓良 饰）衣食无忧但身心疲惫，他向往奔跑在大自然中的自由和轻松。终有一天，他逃离了大城市，来到一个依山傍水的美丽村落，结识了一位机灵可爱的留守儿童（陈浩然 饰）。电影将长虹乡作为主要取景地，片中的企业家在如诗如画的村庄里生活了一段时间，找到了全新的生活感悟，也有了一个新的人生定位。而那位小孩，也在企业家的帮助下，实现了去城里读书的愿望。
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
