《娑婆诃》是张宰贤执导的悬疑惊悚电影，由李政宰、朴正民主演，于2019年2月20日在韩国上映。 该片讲述追查新兴宗教团体受贿案件的朴牧师(李政宰饰)在遭遇神秘人物和事件后发生的悬疑惊悚故事。
改编自卡夫卡的存在主义小说，以《触目惊心》(1960)成名的安东尼．柏坚斯饰演异境人物「K」，一朝醒来便发觉警察在旁，说他要接受审判，但无人告诉他干犯何罪。为了表示清白，K试图挑战司法制度，但悲剧人物始终逃不过卡夫卡式幽闭梦魇。影片卡士庞大，威尔斯依旧粉墨登场，还有法国 大美人珍．摩露，负责拍摄的是布纽尔的御用摄影师。影片以黑白菲林呈现超现实的封闭时空，威尔斯在影像实验中继续潇洒前行，从庞大的布景和众多的群众演员中，说明了他如何精心筹划出电影的无边国度。威尔斯自言这是他的最佳电影。
悬疑女王经典小说改编 几分钟速看悬疑片#尼罗河上的惨案_超清
故事继续聚焦在上流社会的秘事，大侦探波洛（肯尼思·布拉纳 Kenneth Branagh 饰）在埃及度假期间， 卷入到了一场危险的三角关系之中，他在察觉到这趟旅程中不寻常的味道之后，登上了那条驶往阴谋和死亡的船。
知名女作家以自己书中写过的“忏悔式死法”陈尸家中，由刑侦小队长赵旭镇（张书豪饰）负责侦办这一大案，与他没有血缘关系的兄弟网络刑警李仲伟（禾浩辰饰）也加入了专案组。调查陷入瓶颈，一连串离奇事件似乎都指向一个神秘的在线购物网站futmalls.com。涉案人都声称曾在这个来自未来的网上商城下单：从未出版过的畅销小说、看见幻觉的人工泪液、以假乱真的电子人偶……通过预支未来所满足的欲望，也必将付出沉重的代价。软科幻推理单元剧，由优酷与满满额娱乐股份有限公司出品、百薇国际娱乐股份有限公司、香港鲨鱼文化传媒有限公司联合出品
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.
本片起用大量素人演员，故事剧情建构在片中演出者的真实人生上，但写实之外，导演更点入了许多神奇超现实的荒诞色彩，夜晚现身的俄罗斯蓝眼猫，缓缓升空的火箭，包含诸多暗示和寓意，搭配壮丽湖泊及美如人间天堂的村景，使得电影中处处充满诗意和平静，被喻为该年度威尼斯影展最大惊喜。
悲痛的凯伦从单方分手中解脱出来，闯入她前任的湖边小屋。 在那里，她与挑衅的年轻女子拉娜建立了复杂的关系。
9月26日 22-23赛季欧国联第6轮 斯洛伐克VS白俄罗斯
金章、薄康、小齐三人都是某医学院附属医院的青年大夫，他们是好朋友，他们都喜欢叶素萍，而叶素萍却只爱金章。因此，在他们的友谊中便笼上了不和的阴影。金章的医术好，但有些自满情绪。一次勘探大队的唐队长患病，由于金章粗心大意，误断病情，错施手术，受到严厉的批评。薄康嫉妒心重，由于爱情上的失意，借此打击金章，说他是拿病人做试验品，但领导和群众并没有听信薄康的话。事后，叶素萍主动去找金章，想帮助他认清自己的错误，可是金康不但不领情，反而埋怨叶素萍不了解他，叶素萍一气之下离他而去。后来在老教授和同志们的帮助下，金章慢慢认识到自己的错误。不久，他被派往勘探大队工作，大队长正是被金章误诊的唐队长。一天，唐队长病倒了，需要再次动手术，由于金章的诊断及时准确，使他化险为安。出于感激，唐队长把自己用生命换来的华北战役纪念章送给了金章。在事业与爱情的风波中，自私自利的薄康想阻拦叶素萍去勘探队工作，遭到叶素萍的拒绝。叶素萍来到勘探队和金章一起面对新的生活。小齐和勘探队的护士夏兰也幸福地走到了一起
哈尔和维克拉姆是产业巨头——玛雅的双胞胎少爷哈尔是一个注册的飞行员，被父亲强迫迎娶生意伙伴的女儿，他试图拒婚但他的父亲绝不让步。在一次试飞时，哈尔独自飞行，他策划一场飞行事故，导致每个人都相信他死了。事实上，哈尔依然活着，到达了孟买的岸边与一个穷人家的女孩坠入爱河，结婚并拥有了自己的家庭。