在葡萄牙的北岸，五个不同世代的女人正共同努力经营着她们的家族酒店，试图将它从一个无可避免的衰败中解救出来。与此同时，这个家庭深陷在一个长久无法解决的矛盾之中：她们都学不会爱自己的女儿，也因此她们都不懂要如何当一个母亲。外孙女Salomé（MadalenaAlmeida饰）的突然到来搅乱了整个局面，所有的旧伤口都被撕开，潜在与沉积的怨恨都浮出了水面。于是，她的母亲Piedade（AnabelaMoreira饰）作出了一个非常大胆的决定。本作讲述的是酒店经营者一家的故事，入围第73届柏林电影节主竞赛单元。其姊妹电影《ViverMal》则是聚焦于到访酒店的客人，入围同一届的奇遇单元。
根据漫画《萨布丽娜的惊心冒险》(TheChillingAdventuresofSabrina)改编的未定名新剧由Netflix接手开发，直接预定两季，共20集。将与CW大热新剧《河谷镇》共处一个宇宙，两剧都是根据阿奇漫画改编。萨布丽娜是阿奇漫画中最受欢迎的角色之一，但没有出现在《河谷镇》里，九月时CW宣布将开发她的单人剧集，也有了说法。故事聚焦年轻女巫SabrinaSpellman，她半人半巫，致力于与威胁到她自己、家庭以及人类性命的邪恶势力作斗争。充满超自然、恐怖、魔法、巫术等元素，风格类似《罗斯玛丽的婴儿》和《驱魔人》。制作班底和《河谷镇》一样，RobertoAguirre-Sacasa任编剧，LeeTolandKrieger执导，华纳电视部门和BerlantiProductions制片。THR消息源透露将会背靠背拍摄，明年2-6月拍第一季，6-10月拍第二季。
凯峰（黎明 饰）的妻子秋捷（王珞丹 饰）在一场意外之中不幸丧生，令凯峰沉浸在悲痛和绝望之中。凯峰找到了灵媒师，希望妻子能够死而复生，然而让凯峰没有想到的是，他的愿望竟然成真，秋捷以幽灵的形式回到了他的身边。 灵媒师告诉凯峰，秋捷并不知道自己已经死去，凯峰和儿子沐沐必须保守这个秘密，一旦秋捷识破真相，就会消失。就这样，这个家庭以这样一种诡异的方式破镜重圆。然而某一
朝鲜战争打了三年以后，美帝国主义不得不座在了谈判桌上。但敌人是不甘心失败的，经常派特务越境收集我方情报，三八线上成了第二战场。美军戴维斯上校（道洛霍夫 饰）准备派遣间谍到北朝鲜找日本潜伏特务山本太郎（张展望 饰）取回002情报。甄别再三，他把任务交给了乔三（王运庭 饰）和崔春生（裴有犹 饰）。因为崔在日本特务机关受过训练，且他又是朝鲜人，还被特务机关洗过脑。俩人越境找到山本太郎，拿到002情报，在返回的途中，崔腿被打伤，躲进了阿妈妮家中，言谈中被阿妈妮发现了破绽，崔春生打伤了阿妈妮（王伯玲 饰），俩人落荒而逃。最终落入我志愿军和人民军之手。经证实，崔春生竟是阿妈妮的儿子......©豆瓣
猛虎（萨尔曼•汗SalmanKhan饰）是印度情报局的一名优秀的特工，出色的工作能力让他一次次从危险的任务中死里逃生。因为印度当局怀疑一名英国教授向巴基斯坦提供军事导弹的信息，猛虎前往伦敦执行任务，并且认识了任务目标的家庭保姆佐雅（卡特莉娜•卡芙KatrinaKaif饰），一个性感魅力的舞蹈学院学生。依靠理智生存的猛虎对她一见钟情，动情的猛虎开始变得柔情起来，在执行任务之余想办法接近佐雅。然而在追捕敌方特工时，猛虎意外的发现，原来佐雅是巴基斯坦的特工成员。虽然在关键时刻他选择了放走佐雅，但是命运却又让他们在伊斯坦布尔相遇。这一次猛虎终于决定从心所欲的生活，带着佐雅逃离这种冷漠的特工世界。该片被称为印度版的007。
Inspired by a true crime case, the fictional six-part series "German Crime Story: Gefesselt" follows the story of one of Germany’s most notorious serial killers, the so-called "acid barrel killer." Raik Doormann strikes fear into the Hamburg area in the early 80s and 90s, as he kidnaps, tortures and brutally kills women in his own nuclear bunker. It is not until Nela Langenbeck, a victim counselor and later homicide detective, comes across clues to his deeds. But at that time, women within the police department are regarded more as secretaries than investigators - so she initially earned headshakes for her approaches. Against all odds, she eventually gets on the trail of Doormann and his gruesome deeds.
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.
本片具现代女性意识、香艳元素；而当中女子的剑击拼斗场面，动作优美，刚柔并重。故事讲述万胜镖局总镖头陈华堂，抚养对头人焦家的儿子炎儿，却不许其习武。十年后，城中出现幪面采花大盗，行侠仗义的女捕快冷如霜特来侦查，并将炎儿擒获；然而采花大盗，原来是陈之长子正豪，炎儿实遭陈氏父子嫁祸。炎儿越狱而逃，誓要洗脱罪名……
庞氏集团的继承人庞佳俊整日沉迷夜店酒吧，渐渐地厌倦了这种花天酒地夜夜笙歌的生活。一天，他偶遇清纯女子子欣并被深深吸引。 文昊总梦想着一夜暴富却每日不得不辛苦工作，他厌烦这样的生活，却无力改变。 有一天，他们不约而同走进了一个神密的魔法屋，那里的魔法师自称可以交换他们的灵魂，让他们体验不同的生活。他们一拍即合，于是交换了灵魂。佳俊的唯一目的是因为子欣正是文昊的女友，而他们都不知道的是，一个可怕的阴谋正在等待着他们……
艾莉森·彼得斯总是做对了一切，但发现她的生活在混乱中，作为一名律师坚持在杂货店工作。她渴望得到现金，MiCasaSuCasa.com租了地下室，并得到了詹姆斯·布鲁尔的回应，他解释说他和妻子最近分手了。在工作中，艾莉森和她的朋友莎拉与一位一直骚扰艾莉森的老板布兰登打交道。布兰登被谋杀时，警察怀疑她。随着艾莉森和詹姆斯之间的浪漫开始绽放，她生活中的越来越多的人开始消失。
私立高中二年级生岩田广一（中村苍 饰）和青梅竹马香川绿（樱井美南 饰）在放学路上目睹了一颗不可思议的流星。次日，香川和同学大森健次郎在体育馆里看见奇怪电流在半空中划动又迅速消失。是夜，岩田以及香川等四人潜入学校探险，试图寻找白天出现过的“幽灵”，就在他们离开学校时，神秘电流再一次出现。 岩田隔壁的江原爷爷是个独居老人，经常出现幻觉。这天，一个奇怪男子山泽典夫（本乡奏多 饰）出现在爷爷家中，他自称是爷爷的孙子，他言行古怪，眼睛里还闪烁着神秘电波。次日，岩田班上来了一位转校生，居然就是山泽典夫。山泽典夫拥有专业的科学知识，举止言谈却相当怪异、不同常人。这个谜之转校生，究竟是什么人，他来自哪一个世界？
两个在丹麦穷途末路的小偷古飞宇和贝永新，为了还清黑帮老大李的赌债，本想盗走最后一票却卷入了一场古堡遗产争夺战中，遇到了本以为是古堡合法继承人的莫巧雨。在和莫巧雨一起躲避李的过程中发现了古堡背后的秘密和莫巧雨真实的身份。