1953年的纽约，杀虫人比尔（Peter Weller 饰）进行着孤独的个人写作，只有两个好友知晓他的文学尝试。比尔的妻子琼（Judy Davis 饰）沉迷于注射杀虫粉，比尔为她拜访了戒毒医生班威，不久被麻醉品管理处传讯，在那里他遇到了能说话的虫子，它指出比尔的真实身份是一名间谍，比尔惊慌失措的逃回家，开枪误杀妻子，只得按照怪异生物的指点远赴中东的“区间”避难。当地的黑肉场场主、美国作家和他酷似琼的妻子、同性恋商人、以及集市上的女人看起来无不是一桩阴谋的一部分，比尔在自己那台会说话的打字机“克拉克诺瓦”的帮助下进行创作，并不断接近阴谋的真相，在又一次失去了琼以后，比尔发现了区间同班威医生的联系。 本片获1993年伦敦电影节年度女演员奖，1992年加拿大吉尼奖最佳导演、最佳摄影等多项褒奖。根据威廉·罗伯斯同名小说改编。
潇洒（钟镇涛 饰）已过而立之年，然而终日只同一班狐朋消磨，做事颠倒，没有正形。想要拜入帮派大哥门下却被对方打趴；要学人顶罪却被恶警3662（成奎安 饰）当做沙包算计。借住老姐（林建明 饰）家中吃白食，整日被姐夫（许绍雄 饰）冷语相向。经老姐帮助，潇洒得到一份推销保险的工作，但潇洒工作毫无章法沦落到自残骗保费的地步。终于促成一单，潇洒顶替客户体检，意外发现自己罹患绝症，仅剩一月残生。 潇洒决定快意恩仇，要死得光荣。他帮朋友圆了大波妹之梦，惩治3662后将他赶出香港，套上警服后潇洒以终结者的方式射杀数名劫匪，经连篇报道竟一时成为城市英雄。整日被人追杀的女记者Dora（张曼玉 饰）在现场被潇洒无畏的气概深深吸引。扬眉吐气的潇洒被警方特聘，凭着不怕死的劲头续写传奇，但是看上去只有一月的寿命，让他无法接受Dora的爱……
未来世界被人类的发明彻底改变。人本是这个世界的造物主，却即将被自己创造的生命所取代。这种更迭一旦发生，人类将连被奴役的机会都没有。丽丽安是第一个诞生自我意识的机械人。在一次与人造人周小倩的战斗中意外回到过去。小倩隐藏身份，找到一处合租房，并开始在“过去”找工作。合租的对象换了一批又一批，都被小倩的“古怪”搞的退租，直到许大奔出现。许大奔，大学刚毕业，典型草根，他有个好基友，叫李哲。而李哲的公司在未来创造了丽丽安和小倩。丽丽安一直对小倩的信号进行追猎，过程中发现小倩主动接触李哲。在错过小倩后开始追踪李哲并设法引出小倩。而大奔，他的生活，就这样神奇的被改变了。
巴勒斯坦难民莫·纳贾尔跨越了两种文化、三种语言和大量无稽之谈的界限，并且在获得美国公民身份的道路上不断地遇到各种阻碍。他的家人（包括坚强不屈的母亲、姐姐和哥哥）逃到了德克萨斯州的休斯顿。笑着摆脱痛苦，莫学会了适应他的新世界，尽管成功之路上会挫折不断。这部打动人心的喜剧片由喜剧演员莫·阿米尔（《TheVagabond》《黑亚当》）和拉米·尤素夫（《拉米》《黑客军团》）担任创剧人和监制。该剧集由A24的拉维·南丹和哈莉·塞科夫、哈里斯·丹诺（《星星之火》《黛西与乐队》）、卢夫·拉赫（《说唱王戴夫》《费城永远阳光灿烂》）以及剧集导演索尔曼·纳伊姆（“滑头”）共同担任监制。
女孩麦粒是个弃婴，从小被善良的乡村医生师昵抱养。师昵的丈夫死于一场意外。从此，母女俩相依为命。后经人介绍，师昵和乡村教员东方树相恋。不料，此举竟招致麦粒的强烈反对。麦粒所在寄宿学校，学习氛围不甚良好，麦粒学习成绩直线下降。为了分担师昵的忧愁，已与师昵喜结良缘的东方树决定，每天骑车往返乡镇之间，接送麦粒上下学。东方树的辛勤付出，终于换来麦粒发自心底的尊敬。师昵不幸被检查出乳腺癌。为了挽救妻子的生命，东方树倾其所有，但还是没能留住师昵的生命。为了让麦粒完成学业，东方树含辛茹苦，乐此不疲。由于长期营养不良，东方树终于病倒在教室讲台前。
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.
影片讲述在一1904年的中东沙漠地带，一名美国寡妇（坎迪斯·伯根饰）及她的儿女被阿拉伯大盗头子绑架，导致美国政府紧张不已，罗斯福总统决定派兵将她夺回。最后寡妇以行动感化了大盗头子（辛康纳利饰），免却了一场杀身之祸。
唐诡世界衍生短剧，大唐长安县尉苏无名意外“穿越”至民国唐府之中，府内谜案连发，小妈与儿子?宝藏与戏班？晦暗幽深的深宅大院，突然显现的长安红茶与方相面具，一本无人问津的《唐诡》小说……昏迷不醒的唐老爷、道貌岸然的唐夫人、妖娆妩媚的二太太、冷漠清雅的三太太、斯文儒雅的大少爷、玩世不恭的二少爷、管家、厨子、还有一个自称太平公主的小女孩，这一切有何关联？谁，又是幕后真凶?
80年代初期，河北农村青年群子收到大学录取通知书后，他决定与村中三个伙伴去到北京闯荡挣学费。但下海经商之路的漫长，与大城市的格格不入让他们感到很迷茫。为了生存，学习，和未婚妻梅结婚，远离父母争吵，群子坚持着。群子的父亲曾经梦想成为建筑师，但是大时代让他未能如愿以偿。一代又一代为实现理想继续奋斗。
一眾黑社會份子，一舉截劫得港幣五百萬現款後，原打算先行各自前往外埠暫避風頭，日後回來始將款項攤分。然而劫案的頭目，為與幕後策劃人平分巨款，遂暗中向警方告密。結果，每個人都因為內訌而自相殘殺，或死於警方彈雨下，當中更牽涉一宗父子情仇……
秘密特工丹尼尔·罗特兰德终于要如愿以偿：在最终取得了他的“老板”凯勒—妓院黑手党头目的信任后，丹尼尔要被引见给凯勒势力强大的合伙人，这个犯罪集团的真正幕后首脑。凯勒，尽管已经得知丹尼尔是秘密特工，他也明白必须除掉丹尼尔，可他却不想亲自动手。不久，凯勒被合伙人杀害，丹尼尔也因此失明。成了盲人的丹尼尔仍旧要逃避联邦警察的追踪，因为他们不相信存在那个神秘合伙人。丹尼尔出乎意料地跟劳拉·凯勒，“妓院老板”的女儿走到了一起。他推测这个幕后首脑就身在联邦警局。可是谁呢？怎么把他找出来？假意承认自己谋杀的罪行，丹尼尔请所有联邦警局的高级官员到场召开了会议。在会上，丹尼尔听出了那个幕后首脑的声音。假装一时鲁莽大意，丹尼尔跟劳拉成功地将他引进了圈套。但是如何让他坦白罪行？还有，更重要的是，如何保护自己免于他的毒手？