内详
林慕安在泰国进行投资时，偶遇三年前不告而别的恋人苏念念。苏念念正在卧底任务中，所以装作与林慕安素不相识。郁闷的林慕安在竞标会上看见了苏念念和她的上司潘和龙，误会苏念念是有了新欢所以故意装作不认识自己。林慕安在生活和工作方面全方位接近苏念念想知道她当年不告而别的原因。经过机场乌龙之后，苏念念和林慕安好不容易才和好如初。这时候，林慕安发现潘和龙非法洗钱，想让苏念念远离潘和龙。苏念念碍于卧底身份不肯离开潘和龙的公司。苏念念设计让潘和龙的犯罪事实暴露，潘和龙企图逃脱抓捕的时候挟持了苏念念。林慕安赶去救援苏念念却被阴险的潘和龙欺骗，苏念念却为了救林慕安身中一枪。半个月后，苏念念在林慕安的求婚中醒来。
CarolJeffries(knownas’Jeff’)isanaiveAmericanwomanstayinginthePhillipines.Sheisgiventenyearsinprisonafterbeingsetupbyherdrug-dealerboyfriend,Rudy.Sheendurestheharshconditions,sadisticheadmatronandattemptsonherlife,thenconvinceshercell-matestotrytoescapewithherthroughthejungle,inspiteoftheknowledgethatruthlesstrackerswillbesentoutafterthem.”“LegendhasitthatSamArkoff,headofAmericanInternationalPicturessawastatuesqueGrierathiscompanyswitchboardandcastheronthespotforherbreakthroughhitCoffy.That,astheysay,isbullshee-it.Theformerbeautyqueenmadeherfilmdebutin1970asanextrainRussMeyer’sbigbreastbonanzaBeyondTheValleyOfTheDolls,andappearedinanumberofB-picsshotinthePhilippinesthefollowingyearforAiP’srivalcompany,RogerCorman’sNewWorldPictures.Alongsideherroleasthetough-as-nailsprostituteinBigDollHouseweresupportsinthehorrorflickTheTwilightPeopleandasatoplesshooker(again!)inCoolBreeze,thenbackbehindbarsforWomenInCages.InWomenInCages,Grierplaysthesadisticwardenforonce,apot-smokinglesbianwithafully-equippedtorturechamber(includingaguillotine!).The’NewFish’(arecentinmate,foryouprisonfilmnovices),aditzyblondeex-strippercalledAlabama,hastakentheheroinpossessionrapforherpimpboyfriend.Sheknowstoomuch,sothepimpblackmailshercellmatestoexecuteher.Acompetentandwell-shotentryinthetropicalprisongenrefromFilipinodirectorGerryDeLeon,itplacestheembitteredex-addictandprostituteGrierinthepositionofslaveowner,watchingherwhitechargestoilingawayintheplantationwithobviousironicglee.
内蒙古卫视大型文化综艺季播节目《长城长》，特邀郦波、蒙曼、张玉坤、王纪言、祝勇、董耀会、杭侃等专家担任“文化解读官”，节目以闯关答题和文化解析的方式讲述长城故事，来自全国的56位“好汉”比手速、拼知识，最终冠军将获得中国15省区市21196.18公里长城深度游大奖。
Fact-based story about a 1975 cover-up of a shooting by two white members of the Boston Tactical Unit. While on stakeout on a suspected getaway car used in a armed robbery, the two gunned down a black man who entered the car. The two claimed the man had
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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.
萨罗（戴夫·帕特尔 Dev Patel 饰）和妹妹、哥哥以及母亲过着相依为命的生活，虽然贫穷艰辛，但一家人在一起相互扶持，日子过得依然温暖而又充满了欢乐。一次偶然中，萨罗同哥哥在火车站走散了，误打误撞之中，萨罗登上了一列开往加尔各答的火车，在那里，萨罗成为了露宿街头的流浪儿，并最终被送进了收容所。
圣丹斯电影节纪录片大奖作品，故事的主角巴克（Buck Brannaman）是个一个马语者。影片追踪着巴克的生活，从他被虐待的童年，到他如何与人或者马匹交流。影片还你一个真实的马语者的人生故事。
莫希儿（陈慧珊 饰）的母亲早逝，是父亲辛辛苦苦将她和弟弟两人拉扯长大。然而，弟弟不学无术，而事业不顺的父亲又变得越来越狭隘孤僻，再加上一个患了阿茨海默症的姨婆孙燕秋（夏萍 饰）需要照顾，一家人的重担全部落到了莫希儿的头上。 糟糕的是，从小到大，仿佛衰神附身一般，任何事情落到莫希儿的手中，都会以失败告终，某日，莫希儿得知公司准备裁员，不愿坐以待毙的她决定放手一搏。她代表公司找到了合作伙伴梁柏言（刘松仁 饰），没想到谈吐之间漏洞百出遭到了梁柏言的斥责，不仅生意谈判失败，更是毫不意外的被公司开除。与此同时，孙燕秋珍藏一世的珍贵玉器“和合二仙”有一半下落不明，莫希儿决定姨婆寻回珍宝。
本片由三个关于自杀的故事组成。故事一：Fumiko（姚乐怡饰）到伍先生（黎耀祥饰）的公司当会计，发现伍先生及其妻（伍咏薇饰）行为怪异，其后才知两人已于两周前自杀死去。故事二：Gigi（张文慈饰）发现悟空（曹永濂饰）与她的死党佩佩（黄佩霞饰）相恋，一怒自杀，死后才发现悟空故意令她自杀以图夺取她的保险金。故事三：维修电梯的Lift皇（雷宇扬饰）因狂热工作而冷落了妻子阿菲（李婉华饰），在Gigi安排下阿菲竟想自杀，幸得Lift皇及时将她救回来。
《前任3：再见前任》主要讲述了，一对好基友孟云和余飞跟女友都因为一点小事宣告分手，并且“拒绝挽回，死不认错”。两人在夜店、派对与交友软件上放飞人生第二春，大肆庆祝“黄金单身期”，从而引发了一系列好笑的故事。孟云与女友同甘共苦却难逃“五年之痒”，余飞与女友则棋逢敌手相爱相杀无绝期。然而现实的“打脸”却来得猝不及防：一对推拉纠结零往来，一对纠缠互怼全交代。两对恋人都将面对最终的选择：是再次相见？还是再也不见。