《喜羊羊与灰太狼之漫镜头》是由广东原创动力文化传播有限公司制作的一部动画片。
姜南一觉醒来进入到逆转时空，变成了男儿心女儿身的姜楠，要想返回现实世界，必须要在14天内找到真爱。曾经的好友宋轲变成了前男友，前女友周依梦成了闺蜜。在14天里，姜楠时刻在为回到现实时空而绞尽脑汁，一系列的变故，又让她陷入抉择之中......
于凡（周润发饰）是在片场跑龙套的电影替身，不仅工作充满了危险，生活还及其的不稳定。江浩文（梁朝伟饰）在公司上班的小职员，过着朝九晚五的生活，日复一日充满了枯燥和乏味。命运的作弄让这两个看似八竿子打不到一起的人相遇了。于凡有一位交往多年的女友名叫杜旖玲，前者将其视为终会携手步入婚姻殿堂的存在，然而，杜旖玲却并不这么想，在于凡身上，她看不到未来。最终，这段恋情已分手告终。与此同时，江浩文在公司里饱受上司的欺压，不堪重负的他最终愤然辞职。就这样，两个同样失意的男人住进了同一屋檐下。
《Healer》讲述了新人记者成长为真正有担当的记者的过程，是一部包含了浪漫、喜剧、悬疑等要素的复合型电视剧。用最尖端装备武装的22世纪未来型职业跑腿人——代号为Healer的徐政厚(池昌旭饰)、网络记者的蔡英信(朴敏英饰)与拥有很大秘密的明星记者的金文浩(刘智泰饰)互相纠结，逐渐查清过去与现在真相的故事。
天界丢失珍贵宝物酒神石，东华上仙遣二郎神杨戬下界寻宝。 杨戬与哮天犬误入神秘酒神庄，并发现酒神石线索。二人潜伏酒神庄，探查酒神石下落。 随后邂逅庄主女儿燕九儿，并与之数次交锋，杨戬不知不觉的爱上了九儿。与此同时，酒神庄死对头王霸为夺取酒神庄秘宝，数次派高手入庄斗酒。杨戬凭借品酒异禀，帮助酒神庄数次化解危机。而九儿也在一次斗酒比拼后因伤显露真身。 杨戬于任务和爱情间挣扎，啸天犬不忍看主人沉沦，遂向东华告密。 东华临凡欲收取酒神石，却被杨戬所阻。二人比斗中，啸天犬护主而死。九儿骗杨戬喝下忘情酒，自身变回酒神石。 一场凄迷的爱情终以杨戬回归天庭告终，从此各归其位，初心不变。
1990年夏，大学毕业，即将步入社会的“我”（森山未来饰）决定利用最后的暑假骑单车四出环游。当车骑到山间时，我意外和一雄（新井浩文饰）的小卡车相撞并受伤，我被他带到附近一家名叫HOUSE475的餐馆疗伤。这里偏僻萧索，不过每晚却固定云集了一群个性张扬有趣的熟客。大家欢歌笑语，度过一个又一个漫漫长夜。餐馆的老板娘翔子（裕树奈江饰），是一位经历坎坷的女性；沉默寡言的成治（西岛秀俊饰），是翔子在其最潦倒时接纳并聘请来的店长。我暂时待在HOUSE475打工，在此期间渐渐了解了成治不为人知的过去。随着夏天的远去，我回到原来生活中日子也越来越近。可就在此时，连环杀人犯的身影打破了山中的宁静……
上海法租界连发三起命案，三个看似完全没有任何关系的死者竟然都有着同一个名字“钟鸣”。凶手擅长使用剧毒暗器和反关节格斗，心理素质极其之高，很可能是一个身怀绝技的冷血杀手。老虎探长钟朗（吕良伟饰）和于胜男（李若斯饰）、康华生（徐亮饰）及洪小雅（马灿灿饰）展开联合调查，而初步结果令钟朗心生疑窦。原来当年他曾化名“钟鸣”在黑帮“蟠龙潭”卧底，他直觉认为凶手是奔自己而来。调查发现，凶手已患有晚期肺结核，去日无多的他仿佛要利用最后的有限时间杀掉作为仇人的钟鸣，为此不惜无差别大开杀戒。钟朗顺藤摸瓜，果然查到这些案件与自己当年卧底期间的一系列事件有关.争分夺秒的追杀，藏在暗处的凶手的生死约定……
一名乡村女孩无意中发现一枚神秘的蛋并将它带回了村里，然而湖底怪兽为了找回自己的蛋，给村子带来了巨大的灾难
1945年，在二次世界大战的战火肆虐中，安娜和罗勃在德勒斯登相遇。一个是德国医院院长的掌上明珠，在家人以及未婚夫的呵护下成长，有着救助身旁所有人的一颗善良的心。另一个是英国皇家空军的轰炸机机师，在一次任务失败中坠毁德勒斯登。安娜救了他的性命，安娜善良温暖的心也打动了他。就这样慢慢地，两颗心越来越靠近… 在此时，发现了罗勃真实身分的安娜，是要选择罗勃，还是要接受未婚夫的求婚？
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.
8月28日 22-23赛季德甲第4轮 科隆VS斯图加特
故事发生在公元2000年的中国河南省一个名叫“安阳”的古城。一个下岗工人，在夜市面摊儿收养了一个弃婴，因为婴儿的襁褓中有一张字条，上面写着一个呼机号，并说收养人每月可以得到二百元的抚养费。工人因此而结识了婴儿的母亲，两人又因为孩子的缘故在交往中有了关系，最终生活在一起。但生活的不如意还在发生着……