2023年09月16日 西甲联赛 巴列卡诺vs阿拉维斯

完美约会对象

布鲁克斯(诺亚·琴蒂内奥饰)巧妙地为大学筹集资金，他开发了一款约会应用。在这款应用中，他为你能想象到的每一种情况都扮演着“替身”男友的角色。通过一周中每晚做一个不同的人的旅程，他发现真正的布鲁克斯根本不是他想的那样，令他惊讶的是，他爱上了他梦想中的真正的女孩。

名侦探柯南 灰原哀物语～黑铁的神秘列车～

讲述灰原哀的过往。

原来这就是爱啊

　　沈宇宙（李圣经 饰）的爸爸意外去世后，被爸爸的情妇卖了房子，一夕间失去所有，决心要向情妇的儿子韩冬辰（金英光 饰）报复，夺回属于自己的一切。但当宇宙越靠近冬辰，就愈发现他令人心疼的一面。

美丽的他第二季

　　《美丽的他》第二季定档2月7日开播。

庵堂认母

法华庵尼姑王志贞，16年前与秀才申贵升相爱，指望脱离空门，与他结为夫妻。不幸，申秀才得病天亡。志贞生下一个孩子，因尼姑庵不许养儿育女，她只得写下血书，忍痛把孩子丢在路旁。 　　孩子被一个姓徐的拾去抚养，取名徐元宰。16年后，元宰中了解元。一天，他偶然发现血书，猜出了血书 中的哑谜，知道自己另有生身父母，母亲是个尼姑，名叫志贞。 　　他决定走遍天涯，寻访母亲。元宰去过很多尼姑庵，均无母亲下落。这一天，他来到法华庵，志贞尼姑接见了他。志贞见元宰面貌很像当年的申秀才，大为吃惊。元宰见她法号与母亲同名，也十分惊讶。元宰试探志贞的身世，知道她很可能就是自己的母亲。 元宰假称上香观音大士，祈祷保佑他访得生母，并说出自己的生母也是一个尼姑。经数次交谈，元宰完全说出自己的身世。志贞知道元宰就是自己日夜想念的儿子，非常激动。因尼姑庵中规戒森严，若认了儿子，不但自己无容身之地，更会断送儿子的前程，因此迟迟不敢相认。 　　志贞跑回住房，对着申秀才的遗像痛哭。元宰冲进房中，看见父亲遗像，掏出血书，跪在志贞面前恳求相认。 　　母亲的慈爱，冲破了一切清规戒律，志贞抱住儿子，含泪相认，母子终于团圆。

变脸女神

两位职场女强人，凯希和莫菲，她们是世界五百强公司里两个针锋相对的竞争对手，离年终考核只剩最后一个月了，两个人都想超越对手，成为公司年度销售最佳团队。没想到，这一天醒过来，两个人却同时变了一张脸，更可怕的是自己这张脸居然是竞争对手的脸，故事由此展开，结局无法预料……

5月28日 22-23赛季英超第38轮 阿斯顿维拉VS布莱顿

黑白无双第二季

在奈河的彼岸，是终年黑夜的地界，地界通过鬼差维持着三界生死平衡……而专程前往人间收灵的鬼差就是黑白无双。黑白无双吊车尾组合——小黑小白，在经历了百鬼封印事件后，两人关系若即若离，小白的身世也渐渐浮出水面……

欧洲的某个地方

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.

怪妈闯荡记第一季

Jill Weber（Jill Karman饰）是一个地道的纽约客，她有一 个钟情的丈夫Andy Weber（Andy Buckley饰），三个孩子， 还有一个和她同样爱好甜甜圈的毒舌闺蜜Vanessa Wrigley（KK Glick饰），Jill的生活古怪离奇，不同寻常，她却享受其中。Andy出身贵族家庭，他的家人们优雅时髦，生活贪图享乐。Jill试图勇敢地抗拒这些她无法承受的诱惑与优待，但家人的上流生活逐渐占了上风。Jill想保持真我，同时又权衡着融入上流社会的利益。Jill的友敌与姻亲只会逼她融入上流社会，包括膜拜身份地位的Weber家族“最高统治者”Candace（Joanna Cassidy饰）、小叔子Lex（Sean Kleier饰）以及他的妻子Brooke（Sean Kleier饰）。Brooke靠着一张信用卡“统治”着一群典型上东区...

血溅牡丹红

发生在民国的初年，军阀曹霖(井淼饰)割据华北施行暴政。有志之士组织地下革命党，推行推翻暴政的工作。着名歌舞女伶唐佩华(叶枫饰)的艺名是红牡丹，她在红牡丹剧团色艺双全，深受欢迎。残暴好色之曹霖垂涎唐佩华已久，唐佩华畏其势。某一日唐佩华的爱人林克强(金汉饰)计议离开此城，同返南方故乡过自由的生活。不料却被曹霖识破。唐佩华被邀饮宴以讨好日本贵宾，却不知自己已身陷虎穴之中…… 　　这齣由邵氏武侠片大导演何梦华于1964年拍摄，张彻编剧，由叶枫、蓝娣、金汉、雷鸣、田丰和井淼主演。由1954年从影，叶枫先後在永华、电懋和邵氏等公司主演影片，代表作有《四千金》、《长腿姐姐》、《星星??月亮??太阳》、《山歌恋》和《血溅牡丹红》等。女主角叶枫的角色为歌舞女郎，为了救所爱金汉与蓝娣而亲近大帅的当众表演令观众看得扣人心弦，其中的花鼓歌由当时幕後代唱歌手静婷所唱。《血溅牡丹红...