添加：未知
导演：丹尼尔·斯坦
主演： 卡拉·古奇诺,凯瑟琳·伊莎贝尔,卢·泰勒·普奇,唐纳德·沙利斯,凯文·麦克纳尔蒂,Jason William Day,杰森·麦金农,罗曼·金赛拉,杰卡·博尚,Darcey Johnson,Aedan Edwards,Lee Tichon,Kenny Wood-Schatz
备注：TC中字
简介： 女子瓦娜的神秘表亲温思罗普突然仓皇登门，身后还跟着一个来自异界的危险实体，对方如同附骨之疽，死咬着目标一路追杀而来。为了护住身世成谜的表亲，瓦娜赌上一切，将人藏进老宅深处的锁盒密室躲避追踪。可异界存在的力量远超常人认知，老宅的防线接连被突破，诡异异象在屋内不断蔓延。随着追杀步步紧逼，尘封多年的家族秘密也随之浮出水面，瓦娜要守住的早已不只是一条人命。
添加：未知
导演：丹尼尔·斯坦
主演： 卡拉·古奇诺 , 凯瑟琳·伊莎贝尔 , 卢·泰勒·普奇 , 唐纳德·沙利斯 , 凯文·麦克纳尔蒂 , Jason William Day , 杰森·麦金农 , 罗曼·金赛拉 , 杰卡·博尚 , Darcey Johnson , Aedan Edwards , Lee Tichon , Kenny Wood-Schatz
备注：TC中字
简介：女子瓦娜的神秘表亲温思罗普突然仓皇登门，身后还跟着一个来自异界的危险实体，对方如同附骨之疽，死咬着目标一路追杀而来。为了护住身世成谜的表亲，瓦娜赌上一切，将人藏进老宅深处的锁盒密室躲避追踪。可异界存在的力量远超常人认知，老宅的防线接连被突破，诡异异象在屋内不断蔓延。随着追杀步步紧逼，尘封多年的家族秘密也随之浮出水面，瓦娜要守住的早已不只是一条人命。
添加：2021-06-30
导演：Matt,Thompson
主演：查宁·塔图姆,西蒙·佩吉,朱迪·格雷尔,鲍比·莫尼汉,安珀·纳什,劳尔·特鲁希洛,戴夫·卡拉汉姆,安迪·萨姆伯格,杰森·曼楚克斯,威尔·福特,Matt,Yates,Killer,Mike,Kevin,Gillese,Z.,Gillispie,Megan,Leahy,Mike,Schatz,Christian,Danley,Cris,Gray
备注：已完结
简介：在这部嬉笑怒骂的历史修正主义动画里，挥舞着链锯的乔治·华盛顿集结了一批惹事生非者，包括热爱啤酒的塞缪尔·亚当斯、知名科学家托马斯·爱迪生、优秀马术师保罗·列维尔和暴躁老哥杰罗尼莫等，想要在美国独立革命中击败本尼迪克特·阿诺德和詹姆斯国王。谁会笑到最后？没人知道。只有一件事能确定：他们可不是你印象中的国父。
添加：1965-07-04
导演：让-马里·斯特劳布,达尼埃尔·于伊耶
主演：Heinrich,Hargesheimer,Carlheinz,Hargesheimer,Martha,Staendner,达尼埃尔·于伊耶,Henning,Harmssen,Ulrich,Hopmann,Joachim,Weiler,Eva-Maria,Bold,Hiltraud,Wegener,Ulrich,von,Thüna,Ernst,Kutzinski,Karl,Bodenschatz,Heiner,Braun,Georg,Zander,Lutz,Grubnau,若阿内斯·巴尔斯基,保罗·埃塞尔
备注：HD中字
简介：The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.