《相信我》（TrustMe）是继《代班》（TheReplacement）之后BBC推出的又一部心理惊悚片。这部剧一共四集，由茱蒂·惠特克（JodieWhittaker）饰演爱丁堡护士CathHardacre一角，她在丢了工作后偷了一名医生好友的证件，利用这个身份取得了成功的新生活，随后便面临身份曝光的危机。
学识渊博伟岸帅气的任智勋（李忠秀 饰）是小有名气的精神科医师，他偏向冷静思维人与人之间的情感，将一切都归于最理性科学解释，内心虽感深深孤独，却时常和不同的女子夜夜欢歌，双栖双宿，一味沉湎肉体的欢愉。他的同事兼好友俊基则不然，是一个追求真爱的传统男子。俊基通过相亲结识美丽的提线木偶师贤贞（具智成 饰），然而对方仿佛隐藏的无尽的心事。贤贞时常会看到恐怖的鬼影出现在她的面前，有时会莫名其妙失去知觉。为了帮助女友摆脱困境，俊基拜托智勋采用催眠的办法为贤贞治疗。 催眠过程中，贤贞讲述了自己隐秘的过去，并开始表现出妖冶鬼魅的人格。禁不住诱惑，智勋利用催眠跨越禁区，全然不计任何后果……©豆瓣
抗美援朝时期的某高地，激烈的战争正在进行，刚出院的中方志愿军战士王成（刘世龙）一回到部队就要求投入到战斗中去，并拿出父亲王复标（周文彬）鼓励他为国立功的家书给张团长（郭振清）和政委王文清（田方）看，王复标是王文清的老战友，他也知道王成是王复标的儿子。 王成在战斗中壮烈牺牲，全团展开向他学习的行动，文艺兵、王成的妹妹王芳（刘尚娴）强忍悲痛投入到创作中。和王芳的接触中，王文清虽认出她是自己十八年前无奈丢下、后被王复标收养的女儿，却没有和她相认，而是鼓励她以实际行动向哥哥学习，王芳也在后来的战斗中有英勇表现。©豆瓣
朝鲜战争后期的1953年7月,当战争各方在进行和平停战谈判时,美军为了在谈判桌上增加筹码,命令克莱门斯中尉率领美军一个连进攻没有军事价值的255高地.他们知道板门店停战谈判可能随时会达成和平协议,所以一些士兵不太愿意做无谓牺牲.然而,克莱门斯中尉认为这是他们的爱国职责,在他的指挥下,美军在猪排山阵地上与中朝军队进行争夺战,甚至进行残酷的肉搏战.等到增援部队到达时,135人的连队打的就剩下25个人.
爱德蒙·罗斯丹（托马·索利韦尔饰）快到三十岁，结婚生子后创作陷入低潮，江郎才尽的焦虑令这位巴黎十九世纪剧作家沮丧不堪。这时缪思却来了，一个令人心动的女孩宣示命运的嘲弄。他唯有通过协助好友追求女孩，同时把情事化为戏语，超越一切嫉妒与痴狂，终成就一代喜剧英雄、一齣边写边排的神作。今天无人不晓得《大鼻子情圣》，它的诞生原来更加传奇。戛纳影帝奥利维埃·古尔梅饰演戏剧泰斗哥格兰，努力催生旷世杰作，更为电影增添无上魅力。
克拉星球遭到了自我毁灭的核战。部分人在逃离克拉星球时，由于宇宙飞船受到了核子的冲...
太阳粒子爆发,影响地球通信质量。刚刚失恋的男主角 浩伟,沉溺于网络直播间、享受着美女主播们安慰的时刻, 竟然收到一个美女主播发出的SOS求救讯息!三个月后,浩 伟的死党彦廷介绍新女友给浩伟,浩伟惊讶发现,死党的新 女友瑞筑正是之前的求救主播!重重谜团,不得其解。浩伟 决定一探究竟!然而这一切的真相,源自于太阳粒子爆发引 发的时空交错,浩伟收到的讯息来自于未来。被蒙在鼓里的主角们还不知道,更大的危机正在靠近,等待他们的将是一 场精心密谋的连环杀人计划......一场直播间密闭空间绝命救援即将上演!
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.
这是四段关于情、关于重新出发的故事。由「丽诚影室」这照相馆、里面的相片和人物互相牵引。四个故事同时开展，各人于照相馆内穿插出现，互相影响。
10月22日 22-23赛季NBA常规赛 鹈鹕VS黄蜂
影片定位为家庭伦理片，讲述七旬老人徐振东因儿子徐卫不来探望自己，把儿子告上了法庭，法院判决徐卫每周要拿出一小时对徐振东进行陪护。对父亲做法不满的徐卫只好按法院判决执行的故事，进而演绎出一幕幕令人啼笑皆非的喜剧，让人在笑声之余深思、感动。