由著名青年导演王鹏执导，《甄嬛传》人气新星蓝盈莹、邬立朋等演员主演的电视连续剧《北京地铁》已在北京杀青，该剧是一部讲述百姓生活故事、展现北京风貌、弘扬社会正能量的电视剧。《北京地铁》以地铁为纽带，写地铁设计师、建设者、运营者，也写形形色色奔波在地铁上的乘客，既有亲情、爱情、友情的相互交织，也有三 代地铁人各自的相守与传承的故事，是一部充满正能量，励志的大型都市题材电视连续剧。
由于一场车祸，执迷数学的博士（寺尾聪 饰）患上了奇怪的失忆症。从此他只能保有80分钟的记忆，80分钟过后，一切人和事就如同崭新的开始，因此他必须时刻在身上贴上纸条提醒自己一些重要的事情。当年博士靠兄长的资助远赴英国求学，自从兄长去世后，嫂子（浅丘琉璃子 饰）接手家族的纺织厂辛苦经营，然而家道仍不可避免中落。由于无暇他顾，嫂子请来家政服务员杏子（深津绘里 饰）照顾博士。杏子带着儿子阿根来到博士身边，他以极大的耐心和包容打理着博士生活中的一切。而博士也想着对母子展示了数学王国的美好景象……
俄罗斯电影《我们来自未来2》是2008年俄罗斯热门影片《我们来自未来》的续集。 《我们来自未来》是一部穿越影片，在当年曾引起强烈反响，被称为“俄罗斯2008年最优秀的电影作品”。讲述了圣彼得堡四个靠倒卖二战文物为生的年轻人从现代穿越时空隧道，重回战火纷飞的1942年，经历了伟大卫国战争的炮火硝烟洗礼后又回到现代，在短短的62个小时过后变得成熟的故事。 续集继续了他们在卫国战争中的冒险，由于加大资金投入，战争场面更为逼真，精心打造的动作戏也更具观赏性，当然，浪漫的爱情也是片中一大亮点。
影片的创作动机来源于《夜半歌声》与《游园惊梦》两部经典电影。结合中国戏曲元素以及民国风情，配合以人物形象以及性格不相符相互冲突的特点，制造出“惊悚”同时又有黑色幽默的特点。
安迪（Al DI 饰) 和Beautiful Bill ( Carson Mell 饰) 是世界上最好的兄弟。一日，Bill 认为两人的世界很不完美，由于兄弟二人皆无来自于女人的爱。随后兄弟二人踏上了寻爱之旅，而在这个过程中，二人也经历了爱恨情愁。
On1March2015,Channel4confirmedthatIndianSummerswouldreturnforasecondandfinalseriesin2016,starringnewcastmembersincludingArtMalikandAcademyAwardnominatedRachelGriffiths.ThefirstepisodeairedonSunday13March2016.The10-partseriesreturnstoSimlainthesummerof1935,threeyearsaftertheeventsofthefirstseries.PaulRutman,creatorandwriteroftheseries,said:"Ourstorymovesforwardthreeyears,toaViceroy’slastsummer,apoliticalgambletostifleIndependenceandagreatreckoningforRalph,AliceandAafrin."
卖馄饨的阿宽（傅亨饰）听说自己的偶像蓝珂（车永莉饰）复出拍戏，片场就在附近，他欣喜地端起馄饨送往片场，蓝珂衷心感谢阿宽的热情。不料此时他的馄饨摊被城管拉走，跑来送馄饨钱的蓝珂助理（徐中淇饰）劝他不要太难过，可去找蓝珂帮忙解决。第二天，阿宽赶往片场，美工（刘永强饰）以为他是剧组的场务，安排他干这干那，蓝珂知道后叮嘱美工一定付给阿宽劳务费。阿宽决定留在剧组当临时工，他每天给蓝珂送上一碗热腾腾的馄饨。戏里男一号大伟（刘达志饰）是蓝珂的前男友，这次与蓝珂饰演一对情侣。鲍料（贾娅饰）是名娱乐记者，她赶往片场采访蓝珂遭拒后转而粘上大伟，非要整出点绯闻不可......
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.
彩虹照耀 A Shine of Rainbows[电影解说]
托马斯（约翰·贝尔 John Bell 饰）从小就失去了父母，成长在孤儿院中，因为口吃，托马斯自幼就是一个并不自信，性格内向的男孩，在孤儿院里常常受人欺负。一天，托马斯因为闯了祸而被请进了院长办公室，在那里，他遇见了名为玛丽（康妮·尼尔森 Connie Nielsen 饰）的女士，就这样，玛丽成为了托马斯的新妈妈。 玛丽的丈夫埃里克（艾丹·奎因 Aidan Quinn 饰）并不喜欢托马斯，他想要一个更自信、更阳光的孩子，因此对托马斯十分的冷淡。好在托马斯还是很快就结识了很多新的好友，在他们的带领下，托马斯的性格渐渐的开朗起来。在一个神秘的山洞里，托马斯遇见了一只海豹，他为它取名为斯马奇，一人一动物之间结下了深厚的友谊。
Pawalam是位高中生，她的母亲被人枪杀，生命垂危之时，为了保护Pawalam和自己唯一留下的桔园不被Pawlam贪婪的父亲在自己死后出售，Pawalam的母亲请求Bapok和Pawalam结婚，拥有对Pawalam的监护权和桔园的拥有权。Bapok和Pawalam秘密结婚。Bapok小时候经常被打，每次都是Pawalam的母亲挺身而出维护他，所以他对Pawalam的母亲怀有特别的感情，Bapok一直视Pawalam母女为他最亲的人。Pawalam从小到大都十分依恋Bapok。 Pawalam进入大学后，帅哥Wepak对她展开追求。而Bapok也遇见了让他有特别感觉的人，一个跟Pawalam的母亲感觉很相像而年龄也和他相配的成熟女性。当事情关系变得复杂时，Bapok和Pawalam忽然都觉得彼此之间有种不一样的感觉，是他们在和其他人在一起时所没有的...
本作的叙事视点并非放于某个接近传奇的足球队队长身上，而是在过去那些足球漫画中并不起眼的监督角色，本作就是讲述这名名为达海猛的足球监督（教练）运用优秀出众的头脑，以出奇制胜的战术部署，赢得各个比赛，从而重建弱小足球俱乐部的故事。此外，本作虽有搞笑性质，但现实味还算浓厚，不像某些作品中那个可怕的足球会变成一只猛虎或者会从高空突然加速坠下再或者附带点雷属性什么的，加上在本作中登场的俱乐部名字均来自现实，看来这也会成为看点。 【STAFF】 原作：ツジトモ 原案、取材协力：纲本将也 监督：红优 系列构成：川濑敏文 角色设定：熊谷哲也 美术监督：东润一 色彩设计：北爪英子 摄影监督：近藤慎与 编辑：松村正宏 音响监督：高桥刚 音乐：森英治 动画制片：浦崎宣光 制作统筹：广冈笃哉、柴田裕司 动画制作：STUDIO DEEN 制作：总合vision 制作、著作：N...