随着他成功的为期两个月的大学喜剧之旅即将结束，皮特带着一个新的面貌和自信来匹配，带着一个大学年龄的有抱负的喜剧演员Jaboukie在他的翼下。但皮特回到纽约时发现他在喜剧酒窖里有一次尴尬的重逢和大试，可能会改变一切。
此剧是一部讲述了关于梦想世袭的韩国最高法官贵族们丑陋丑闻的故事。剧中饰演首尔中央地检特殊部部长检察官韩慧率一角，是个拥有权贵的法官贵族出身，现在是个检察官总长，她仍然不满于自己当前位置，她想要爬上更高的位置，是个野心勃勃的人。由执导《我的女儿是瑞英》、《brain》、《不善良的女人们》、《灵魂维修工》的刘贤基导演执导。
一场意外让明亮（戚薇饰）与高见（陈赫饰）成为了不打不相识的好友和知己，拥有着相同爱情观婚姻观的两人一拍即合，成为了相互取暖的“一夜情侣”。随着时间的推移，两人之间愈演愈烈的感情眼看着就要失控，在这个节骨眼上，他们能否抛弃旧有的原则，勇敢的真正走到一起呢？包念念（毛晓彤饰）的意外怀孕让她和万思齐（王传君饰）决定结婚，然而，就在领证当日，包念念的不幸流产顿时令这段婚姻成为了可有可无的鸡肋。于小诺（姜妍饰）苦于男友承磊（乔任梁饰）无钱无势，决定寻找高富帅“弃暗投明”，可就在此时，承磊一夜成名，但他和于小诺之间的感情却再也回不到过去。
1930年代，经济大萧条时代美国一个民风淳朴的小镇上的Hilyer望族这天迎来了一个美丽的家庭保姆Rose（劳拉·邓恩 Laura Dern 饰），青春又对性有着强烈渴望的Rose对男主人发动了性的进攻，这一切都逃不过Hilyer一对子女的眼睛，Buddy（卢卡斯·哈斯 Lukas Haas 饰）和Doll暗中偷窥着Rose的举动，Rose无力勾引到极富魅力却头脑清醒的男主人，转而对正值青春期的Buddy投怀送抱却仍然得不到满足。从此Rose再也不掩饰自己的青春与性感，常穿着小衫和短裤衣衫不整地在家里走来走去，让小镇掀起旋风，无数男人走来一睹芳容，而Rose更是不忌讳地与之发生关系。男主人最终忍无可忍把她赶出家门，她却说自己已经怀孕，手术后留下终生不能怀孕的病根的Rose却没有停止自己的激情旅途，她依然如昨，处处与男人勾搭，这一朵激情的玫瑰要在激情中绽放自己的人生旅途。 Buddy长大成人后，一直没有忘记Rose，多年后他回到故居，Rose依然是最触动他记忆的钥匙，他想知道Rose如今怎样了……
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
众多怪兽小馆中，有一家尤为特别，它的老板是一个叫桃子的人类。怪兽小馆里会发生一些什么故事呢？
该片讲述了一个炒股惨败意欲轻生的年轻男人，与其他女人一起吸食大麻、沉浸性爱却极其苦闷颓废的故事
When Luna, a battered wife, and Bela, an empowered artist, meet for the first time, their hearts will be freed by the people and society that chain them.
靠替人送车为生的司机小王（姜武）在公路上偶遇搭顺风车的莫莉（莫文蔚），因对莫莉生出好感，他随莫莉去找其“黑社会”男友阿东（张震岳），不久，两人目睹阿东“黑吃黑”，小王不幸成了阿东手上的人质，后在警方的追踪下，阿东逃亡，并将莫莉托付给小王。警察审问小王和莫莉一番后，无果。
前途无量的画家过着人人羡慕的生活，不料一位聪明的年轻女子再度现身。这位不复当年光彩、徒具躯壳的昔日好友出现后，画家的生活逐渐崩解。
童年兄弟意外失散，30年后因一桩罪案相见，两人已身处不同阵营。随着对罪案调查的深入，一个多年来隐于幕后的恐怖组织渐渐浮出水面。