江湖绝色录

本剧讲述了红衣神偷温瞳和六扇门统领顾靳澂，在联手追查“美人榜”悬案“白梨失踪”案时，根据线索一路揭开铸造世家方家的“红颜枯骨”案和蜀中唐门的“鬼粟花蛊”案等诡案，在波谲云诡的江湖势力中坚持寻找案件真相。

白姜案

皇上驾崩宁王为继位而利用铜陵白姜暗害福王企图嫁祸恭王，梅胜雪和凌若寒抽丝剥茧查明福王死因，揭露宁王罪行并还太医邱仲儒清白替福王和众灾民讨回公道。京城为迎接新君一切布置妥当，梅胜雪一行陪同恭王进京继位。

绝对可怜小孩

内详

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美食记者余颜乐想要在30岁升上主编的位子，但偏偏就在事业冲刺期，遭到男友李爵轶求婚；面对爱情和事业她难以抉择，最后出了隐婚的馊主意。但好景不长，两人订婚不久竟成了竞争对手。颜乐为了事业步步逼近，爵轶为了爱情步步退让。最终他们的天平崩塌，颜乐得到了事业，婚姻却走到了尽头。那时颜乐才明白，其实她心中最重要的只有那个她深爱的男人。离婚没多久，颜乐便发现自己怀孕了，她不顾众人反对决定生下这个孩子。孕育一个新的生命使她看到人生的美好。这时，李爵轶的助理莎拉找到颜乐，央求她能去见爵轶最后一面。颜乐来到医院看到奄奄一息的爵轶，她才知道原来爵轶早发现自己患有绝症，所以才和她离婚，希望还她一个自由身。颜乐感动不已，最后在颜乐的陪伴下，爵轶一直支撑到看到自己宝宝出世，而这个宝宝延续了父母对爱的执着。

这个男孩必须被释放

故事发生在1972年的德国，汉斯（尤利乌斯·维克考夫 Julius Weckauf 饰）是一个胖嘟嘟的九岁小男孩，生活在祖母经营的小铺子中。汉斯的性格并不是那么的讨喜，但是他有一项过人之处，那就是他拥有能够逗人发笑的特殊能力，无论心情再低落的人，只要和汉斯讲两句话，就会重新获得笑容。　　汉斯的母亲玛格丽特（路易斯·海耶尔 Luise Heyer 饰）病重，全家的重担都堆到了父亲的身上，为了养家糊口支付医疗费，整日埋头工作的父亲也渐渐失去了笑容。好在汉斯家族中的女性都十分的豁达而坚韧，她们的存在在潜移默化之中影响了汉斯，让他的心灵免受残酷现实的伤害。

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.

干爹的条件

　금수저로 태어나 굴곡 없이, 고생 없이 산 최기남.　　좋은 교육을 받고, 대기업을 다니다 일찌감치 유산을 물려받아 건물주로 살아간다.　　좋은 남편, 좋은 아빠. 하지만 그는 일명 ‘슈가대디’죄의식 같은 건 없다.　　이것도 일종의 사업 같은 것이라고 생각한다.　　서로 필요한 것을 주고 받는 것일 뿐. 인생 공짜는 없다.　　그런데, 어느 순간부터 굉장히 신경이 쓰이는 아이를 만났다.　　그 아이에겐 뭔가 더 특별한 슈가대디가 되고 싶어진다.

不就是拔河么

郭炎和薛天因一出闹剧意外被教练雷明看中，被“忽悠”加入明承大神秘社团—拔河队，和其他六个毫无运动基础的队员从一盘散沙到聚沙成塔，勇猛冲刺全国赛，开启一场青春的逆袭之路。

性爱洋娃娃：安吉拉

元来の気の弱さ、また性に奔放な母?冴子に対する反動から、25歳を前にしても童貞のままの青年?夏雄。幼馴染?奈々(一ノ瀬恋)への恋心を抱え続けているのだが、彼女は冴子に似てSEX経験豊富なタイプで、そのため夏雄は尻込みしてしまうのだった。そんな夏雄の様子を陰ながら見守っていた実父?奈良橋は、彼に恋の手ほどきをするためにあるものを用意する。それは、彼が開発したアンドロイド型ラブドール?アンジェラ(奥田咲)だった。超人的な演算能力とSEXスキルを駆使して夏雄と奈々を急接近させるアンジェラだが、同時に彼女のなかにも淡い《なにか》が生まれ始めていた…

激战(粤语版)

风的另一边

1970 年，传奇导演奥森·威尔斯（《公民凯恩》）开始着手拍摄新片，参演演员阵容也十分豪华，包括约翰·休斯顿、彼得·博格丹诺维奇、苏珊·斯塔丝伯格和威尔斯晚年的合作伙伴奥雅·柯达，而该片最终成为他的遗作。但受资金问题困扰，最终制作过程止步于 1976 年，并很快在行业内变得声名狼藉，无法完成也无法发布。威尔斯死后，一千多个胶卷在巴黎尘封 30 年，直到 2017 年 3 月，制片人弗兰克·马歇尔（曾在《风》初期拍摄期间担任制作经理）和菲利普·强恩·雷沙带头完成了威尔斯的愿景。　　《风的另一边》采用了奥斯卡获奖作曲家米歇尔·勒格朗（《瑟堡的雨伞》）的新配乐，并经过包括奥斯卡获奖剪辑师鲍勃·穆拉夫斯基（《拆弹部队》）在内的技术团队的剪辑，讲述了著名电影制作人 J·J·“杰克”·汉纳福特（休斯顿饰演）的故事，他在欧洲流浪数年后重回好莱坞，准备推出革新性的影片...

遥之彼方的接发球

大空遥（优木加奈 配音）是一个个性活泼开朗的女生，却因为自己个子太高走在人群中过于扎眼而时常感到缺乏自信。原本居住生活在东京的她来到了临近大海阳光灿烂的冲绳，进入那里的高中就读，在冲绳，遥和表妹比嘉比方（宫下早纪 配音）重逢了。　　在比方的影响下，遥开始接触沙滩排球，令遥感到自卑的身高，在这项运动里却成为了她的优势。个性大大咧咧不拘小节的红爱（种崎敦美 配音）、凡事都十分认真一板一眼的惠美理（末柄里恵 配音），通过这项运动，遥结识了一帮志同道合的好友们，在金黄的沙滩上和蔚蓝的大海边，女孩子们尽情的挥洒着她们的汗水。