赵萍遵从父亲的遗嘱从美国归国投资办学。其同父异母的弟弟—美国某黑社会头目抓住麒麟功大师的把柄，要挟他将姐姐化成气体，融进大自然里。宁静的大自然中居住着一个拥有神奇力量的女孩—小亚。在看麒麟气功艺术团表演时，小亚见到了萍，本能地对她产生了亲切感，并将自己的画送给她。任天高对萍下手了，小亚却一次次奇迹般让萍化险为夷。从此，他们朝夕相处，亲如母女。最终在公安人员的帮助下，任被抓获。机场上，小亚与萍难舍难分。
故郷の広島を離れた凪沙は、東京の新宿で衣装に身を包み、仲間と共にステージに立つ日々を送っている。そんなある日、凪沙は育児放棄にあっていた親戚の一果を預かることに。彼女と出会ったことで、孤独だった凪沙に今まで感じたことのない感情が芽生える。世界190カ国で配信されたNetflixドラマ『全裸監督』で脚光を浴びた内田英治監督がオリジナル脚本で挑む人間ドラマ。東京で孤独に生きていたトランスジェンダーの主人公・凪沙と、親から愛を注がれずに生きてきた少女・一果の出会いと関わりを通して、切なくも美しい現代の愛の形を描く。主演を『台風家族』などの草なぎ剛が務める。
琼瑶《六个梦》系列之一。柳方两家为腹中子女指腹为婚，可惜方家女儿依依一出生便是聋哑儿，为了柳家着想方家即时提出婚约取消，但同样看重情义的柳家毅然拒绝。二十年后，柳静言与方依依父母之命成亲，接受了五四新文化思想熏陶的静言本不满这盲婚哑嫁，然被依依的善解人意才貌双全所吸引，真正彼此相爱。但当依依生下的女儿又是哑巴时，静言无法承受命运的捉弄，于是当依依再次怀孕时他硬生生用计逼她打下一个男婴，依依从此心底充满恨意。懦弱的静言远赴日本，并与一艺妓结婚生子，十年后归来，郁郁而终，留下无言的依依，依旧守候着人生的轨迹……
李想只是名普通的上班族，面临失业、缴房贷的压力，在感情上和女友梦灵已经趋于生活化，缺乏沟通，两个人的关系即将触礁。李想不知道要如何面对这重重压力，要如何跟梦灵找回最初的美好。梦灵在职场中面临新同事戴文的猛烈追求，一方面心里十分渴望，一方面又因为道德观念，想拒绝他。李想实在硬撑不下去，请梦灵吃大餐哄她开心，想借机说出真相，却因为戴文的一个意外的表白电话而打断，李想内心五味杂陈，两个人开始渐行渐远。第二天一早，李想又拎着公文包假装去上班。李想在公交车上偶遇刚到中国的朱莉，好心地帮助她完成了入职手续。朱莉对他十分感谢，请他喝酒聊天，虽然两个人语言不通，但是却依然聊得十分愉快。李想没有想到自己会在一个语言不通的外国人身上找到了久违的快乐。醉熏熏的李想回家，再次和梦灵发生龃龉，两个人都感觉十分无奈。李想在街上受到了路人感染，鼓足勇气回家想要跟梦灵坦白自己失业的事情，却被梦灵无意中打枪，话到嘴边却又被呛了回去，反而又惹梦灵不高兴。万般失意的李想，在和朱莉的相处中，难得地轻松，朱莉也面临和丈夫多年分居，感情已逝，逃避问题才来到中国。遇到了李想之后，感觉到这个中国男人的贴心和照顾，十分感动。而李想可以无所顾忌地跟一个听不懂中文的人讲述自己的心事，让他多年的压抑释放了出来，两个人的相处异常地愉快。梦灵决定要跟戴文说清楚，告诉他自己有男朋友，两个人交往多年，感情稳定。戴文是从国外回来的ABC，根本不理会梦灵说什么，还借机带她出游一天，让本来对生活和感情都很平淡的梦灵找到了久违的激情。戴文送梦灵回家，这一幕又被李想看到。回到家后，两个人各有心事，关系进入冰点，矛盾一触即发。李想听从了朱莉的建议，亲自送梦灵去公司，却只是为了给那个“情敌”点颜色看看。戴文突然出现，梦灵顿时手足无措，李想借机把戴文狠狠整治了一顿，让他颜面无存，李想在情场的这次“战役”中以胜利者的姿态离开，让他获得了极大的满足。可当他独自走在街头的时候，却惊觉自己一无所有，决定离开这个城市，找回自己最初的梦想。朱莉和丈夫离婚，但是也决定回国找回自我，她和李想真诚地祝福告别。梦灵决定跟戴文决裂，挽留下李想，可回到家中，发现人去楼空。当她看到李想留下了贴心的字条，不禁感动万分，又发现了桌子里厚厚的简历，才明白李想已经失业，并且曾经认真找过很多工作，他独自承担了很久，只是为了守住当时的承诺，要给她幸福！梦灵开始重新燃起对生活的希望，一心等他回来。无处可去的李想，终于想通所有的问题还是要一件件去解决的，于是他回到了家中，想要跟梦灵坦白一切，梦灵的理解举动让两个人深情相拥，过去所有的误会和矛盾都被满满的爱意融解了。两个人决定一起承担责任，面对未来。
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.
Life in Yolcos, a beautiful and prosperous port city in ancient Greece, is peaceful as the population is threatened by the wrath of Poseidon. A young, adventurous mouse and the cat she adopted, help, unbeknownst to them, old Jason and his Argonauts in their quest to save the city.
2030年光明市，人类文明高度发达的当下，各种罪恶勾当也日益猖獗。光明市警察总署的李奥探长（周杰伦 饰）是一个嫉恶如仇的勇敢男子，他自幼在孤儿院长大，视院长潘青宇（曾志伟 饰）如亲生父亲，并和院长的儿子潘达情同手足。自从院长被人杀害后，小伙伴们分散四方，找到凶手也成为李奥最大的动力。在当下的光明市，以狂天集团为代表的犯罪组织横行霸道，无所畏惧。李奥率领下属接连挫败狂天的阴谋，与此同时超级英雄熊猫人（宇豪 饰）也成为犯罪分子恨之入骨的眼中钉。
这部电影讲述的是一个男孩和他的家人搬进小镇边上一家据说闹鬼的旅馆。
Nikki Fre$h is ready to rap with Quibi. The digital platform service run by Jeffrey Katzenberg and Meg Whitman announced today it’s teaming up with Nicole Richie and Jax Media on a comedy series titled Nikki Fre$h about Richie’s rapper alter ego. The series will show Nikki Fre$h bringing a new voice to wellness with a fresh style of music — “Parent Trap” — dropping socially con...
故事讲述米歇尔是《纽约时报》的旅行作家，他在经历了一场悲剧后，来到了以色列的特拉维夫，这座城市的活力及与一个年轻男人的恋情让他重新振作起来。
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