Jackie,theheiresstoherhusband’sfortuneafterhisdeath,whofinallyfindsloveagainwithaplasticsurgeon,Kevin.Astragedycontinuesaroundher,secretsaboutKevinandherlatehusband’sfamilynefariouslycometolight.
本片讲述了两位热爱游泳的叙利亚姐妹，从饱受战争蹂躏的国土到2016年里约奥运会的路途中经历的苦痛与辛酸。
电影《人生不能重来》是中国第一部关注贪官落马后其家庭成员凄惨遭遇的反腐倡廉警示教育片，影片内容全部取材于现实生活的真实案例。桑叶红饰演的郑雅琳是一个青春靓丽的女孩，她是副市长之女，在国外留学。取得博士学位的郑雅琳满心欢喜地回国，众宾客上门道贺，孰料就在这时，身为副市长的父亲郑煜辉被查出利用职权贪污受贿，被专案组带走，将移送司法机关。奶奶无法承受接受事实，不幸去世。哥哥、嫂子以及表叔都涉嫌贪污受贿案件，表叔为了自保，设计了车祸现场，让哥哥和嫂子假死，而将他们软禁在某地。父亲贪污被捕，奶奶、哥哥、嫂子相继去世，一夜之间，整个家支离破碎。面对将近崩溃的母亲和7岁大、不懂事的小侄女，郑雅琳在男友的帮助和鼓励下，挑起家中重担，照顾母亲和侄女。该剧讲述了一个贪官落马之后其家庭成员生活上经受的巨变。廖学秋饰演的官太太王正梅遭受了精神、情感上的双重背叛。
《非正式会谈》第五季由哔哩哔哩与湖北卫视联合打造，是一档外国人用中文搞事情(siao)的文化访谈类节目，每期十一国代表,带着彼此的言值(偏见)和颜值(刷脸)，配合挑事的大左、杨迪、陈铭、陈超四位司机(补刀专业户)，出演一场互相伤害的大戏。5月17日起，每周五晚2000，哔哩哔哩超前一周全网独播，用80分钟的进度条，打破认知的结界，发现新世界的入口。
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.
纪录片聚焦中小卖家的烟火人情味。在不确定的时代，展现国民个人灵活就业创新样本、生存智慧、韧性和平凡诗意，让大家看到同行者抱团取暖，体现买卖情义，坚定自己的乐观和勇气，激发共鸣、抚慰情绪。
IT博士程名打算利用一个月假期找到自己的另一半，相亲途中邂逅美女林可欣。林可欣的频频出现将程名相亲局面搅得一团糟，最后反倒收获了自己的爱情……
劇中では、郊外の小さな出版社に勤める主人公・直実が、叔父夫婦の計らいでタワーマンションの高層階に引っ越すことから物語が展開していく。同じマンションに住むスター俳優・時戸森則と出会い、夢のような逢瀬に溺れながら、仕事、人生、愛について悩み続ける直実の姿が描かれる。さらに直実を軸に、彼女を取り巻く女性たちの機微や葛藤を、エチュードのように映し出す。
改编自珍妮·玛丽·拉斯卡斯于2009年在《GQ》上发表的文章《Game Brain》。电影主要描述脑神经学医生班奈特·奥玛鲁最先发现到运动员容易罹患一种慢性创伤性脑病（CTE），会使该运动员产生自杀念头。故事改编自真实事件，叙述班奈特·奥玛鲁是一名美国脑神经学医生，他是首位发现美式橄榄球员高概率会因职业缘故而造成脑部慢性病变，便决定将此研究公诸于世。但此研究却遭国家美式橄榄球联盟强烈否认，使得班奈特将面临对事业造成强烈冲击的危机。
铁拐李（曾伟权饰）、汉钟离（蔡国庆饰）、张果老（梁汉威饰）、蓝采和（林迪安饰）、吕洞宾（潘志文饰）、韩湘子（唐品昌饰）、何仙姑（阮佩珍饰）和曹国舅（凌文海饰），在成仙入道之前皆为凡人。八人经仙人的点化成仙，遂开始了他们斩妖驱邪，锄恶扬善的救世故事。 本部于1985年播出，由香港亚视推出的三十集电视连续剧《八仙过海》，改编自脍炙人口的民间传说八仙过海。八仙过海是八仙最广为流传的故事之一。在传说中，八仙各有不同的法器，铁拐李有铁杖及葫芦，汉钟离有芭蕉扇，张果老有纸叠驴，蓝采和有花篮，何仙姑有莲花，吕洞宾有长剑，韩湘子有横笛，曹国舅有玉板。他们随身所携带的法器各有妙用，都是为天下苍生请命造福，在世间也留下了许多美丽的传说。
故事开始于16世纪的佛罗伦萨，阿尔蒂（小松未可子 配音）是一位出生在贵族家庭的少女，性格开朗的她对这个世界充满了好奇，从很小的时候起，阿尔蒂就深深的沉迷于绘画无法自拔，立志成为一名画家，可是，在那个年代，一位女性想要成为画家简直就是天方夜谭。 虽然母亲强烈反对阿尔蒂的决定，但阿尔蒂还是坚持了自己的梦想，她找到了当时著名的画家雷欧（小西克幸 配音），请求进入他的艺术工作室学习。虽然刚开始雷欧并不准备接受这个看上去有些憨的少女，但在阿尔蒂的身上，雷欧看到了自己曾经充满了热情的模样，就这样，阿尔蒂正式的成为了雷欧的徒弟，开始了她的绘画之路。