影片聚焦法国民族女英雄圣女贞德（玛利亚·法奥康涅蒂 Maria Falconetti饰）生命的最后时刻，再现了她被出卖落入勃艮第叛军手中后，在英格兰监狱和法庭上，从受审到处死的全过程。被英格兰当局严密控制的天主教会，指控贞德为异端和女巫。法庭上，法官更伪造证据，以信仰问题不断对她施以精神上和肉体上的折磨。面对惨无人道的酷刑与子虚乌有的诬陷，贞德正气凛然、坚贞不屈。最后，贞德被押赴鲁昂市广场，被绑在火刑柱上活活烧死。 由一代电影大师卡尔·西奥多·德莱叶执导拍摄的影片《圣女贞德蒙难记》，被称为世界十大最佳影片之一。影片以极具震撼力的艺术表现手法，再现了这段受到天主教会和英国占领军折磨的民族英雄短暂生命中的最后时刻。
名不见经传的小说作家曲周月（河正宇 饰）正在酝酿创作他的第二部小说，怎奈陷入了文思枯竭的困境。适逢他的出版公司会长要去柏林出差，曲周月便欣然答应一同前往，并充当翻译一职。 在柏林的最后一天，曲周月参加了一个针对电影业内人士举办的派对。然而面对故作姿态的寒暄和虚情假意的热情，曲周月觉得厌倦得透不过起来，索性来到外面独自抽烟。就在此刻，他遇见了他今生的缪斯女神。一个名叫熙珍（孔孝珍 饰）的女人默默地走到他的身边，静静地抽了一根烟。这一幕让毫无恋爱经验的曲周月怦然心动，一见钟情。曲周月就这样一发不可收拾地爱上了她。
库柏率领着一小队人马在佛罗里达的热带雨林和沼泽中大战印第安人，这剧情如果把印第安人换成其他比如“蟒蛇”比如“外星怪物”是不是觉得有点似曾相识。。。电影中最大的看点也就是这沼泽和雨林它才是第一主角，配角当然是鳄鱼，蛇。。。水下决斗戏也很亮眼
《致所有愛過的人》（原名《禍後》），該劇由林文龍及黃翠如主演，劇中亦有連詩雅、黃嘉樂、馬貫東、謝芷倫、麥皓兒以及顧定軒等人參加。
对爱情有着依赖症的25岁女孩梅宫志乃（多部未华子饰）此时正陷入恋爱困局，她的男友正树（柄本佑饰）充满猜忌，为人刻薄，还时不时殴打女友。无以为继的恋爱，两人最终走向分手。在好友奈奈子（木村文乃饰）和小天（松坂桃李饰）的帮助下，志乃搬到一处新的公寓，展开全新生活。搬家当晚，志乃便被邻居菅原京志郎（绫野刚饰）温暖的笑容所击中。可以想不到的是，对方居然就是她接下来将要打工的音像租赁店店长。前男友奚落轻蔑的样子时不时萦绕眼前，志乃不愿承认她就是对方所说的有男人就行的花痴女，但她还是不由自主被已经有女友的对方所吸引……本片根据少女漫画家乔治朝仓的同名漫画改编。
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.
亨利二世对抗自己儿子的残忍战争
11月20日 22-23赛季NBA常规赛 马刺VS快船
熙攘喧嚣的大都会里，供职于某银行的独身女子赵京敏过着朝九晚五的生活，独自穿梭在城市的街头巷尾。这一晚，京敏下班回到家，发现家门的密码锁盖子被人打开。进屋后不久，她突然听到门口传来按密码锁的声音，更有人试图扭开门把手。虽然没有看到任何人，但恐慌的京敏还是选择报警，然而警方却以未发生侵入和伤害行为而拒绝进一步调查。夜渐渐深了，在极不正常的深度睡眠中，似乎有什么人坦然自若地走入京敏的房间，紧紧抱着这个女孩入睡。接下来的日子，京敏的精神状态越来越差，无理的客户更是让她倍感恐慌。 她开始变得不知所措，身边每个男人似乎都变得无比可疑，而可怕的事情终于发生……
杏（山田杏奈 饰）出生在一个破碎的家庭之中，父母对她非常的残暴，动辄打骂，完全不将她当做一个人来看待。在学校里，杏的日子也不好过，性格懦弱从来不会反抗的她成为了同学们霸凌的不二人选。 一天，杏遭到了一名男子（上杉柊平 饰）的绑架，但是对于杏来说，这并不是一件坏事，因为她可以就此逃离自己地狱般的生活。和绑架犯在一起的每一天，杏都感到无比的愉快，她可以吃饱肚子，不会再被打骂，也不会受到任何人的欺负，随着时间的推移，杏和绑架犯之间竟然产生了真挚的感情。
一部设定在一间旅馆客房里的诗选剧，讲述形形色色房客在其中展现的一系列独特境遇和怪癖。 本剧由杜普拉斯兄弟 (Mark & Jay Duplass) 开创。
1760年的利物浦码头，科林斯夫妇正带着年幼的巴纳巴斯登上开往新大陆的船，前去扩张科林斯家族帝国。16年后，巴纳巴斯（约翰尼·德普 Johnny Depp 饰）长大成人，继承了家族产业，坐拥科林伍德庄园。女巫安琪莉可（伊娃·格林 Eva Green 饰）投怀送抱，而巴纳巴斯却心系善良姑娘乔赛特（贝拉·希思科特 Bella Heathcote 饰），无情地拒绝了女巫。女巫恼羞成怒，对两人施行毒咒，乔赛特香消玉损，而巴纳巴斯则变成了一只永远的吸血鬼被封在棺中。两个世纪后，一个施工队无意间挖开了棺木，巴纳巴斯回到庄园准备东山再起时，却发现曾经属于自己的科林斯港已经变成了女巫的天使海湾，良民们被她统治长达200年之久，地位难以撼动。身为吸血鬼的巴纳巴斯能否夺回家族产业，击碎女巫的谎言呢？与此同时，一位长相酷似昔日爱人乔赛特的年轻女孩也鬼使神差地来到了科林斯港...