电影《铁柱进城》展现当代未婚大龄青年的理想与生存、压力矛盾交织的生活状态。在刻画出一名朴实、真诚农村小人物形象的同时，还批判出少许社会的负面现象，让人观看时不仅笑声不断，也会认真反思当下社会写实状态。
女警杨菁菁与卧底台警程傲群和中警华志勇合作缉捕中国地下兵工厂的香港党羽。 党羽首领阿Paul的妹妹Edna并不赞同兄长的行动，阿Paul的党羽阿Ben却对Edna有意，怎料Edna却一心一意恋上了恋勇。 由于傲群与志勇的背景不同，二人常常发生冲突，傲群性风流，却暗中恋上了菁菁。Paul向中国兵工厂的首领买了大批枪械，同时声东击西地派人在湾仔抢劫，以分散警方的注意力。 志勇与阿Ben争夺Edna的芳心，但Edna与Paul的关系暴露之后，Paul软禁了Edna，Edna企图报警及说服Paul报降，可惜Paul泥足深陷，最后死于傲群枪下，而傲群亦赢得了芳芳的芳心。
60年代末朝鲜半岛南北局势紧张，双方都展开了疯狂的间谍与刺杀行动。1968年1月，康仁灿（薛景求饰）因谋杀罪名成立而被判死刑的，在行刑前突然被召到拘留室，与特种部队军官讨论替代死刑的条件，他将被送到西南部荒岛实尾岛接受特别军事训练。同时，另外30名死囚也接受了特种部队军官的条件，被征召到实尾岛执行特别任务。 这31名死囚乘坐渔船到达实尾岛后，便在上级崔在贤中尉（安圣基饰）宣布下，组成了以刺杀朝鲜元首金日成为目标的“684北派部队”，并随即接受一连串地狱式的体能和军事训练。 可是在三年后，由于韩国政府国策的改变，“684北派部队”的计划被取消，31名队员则前途未卜。他们纷感被国家出卖，只能设法自救……©豆瓣
小伙睡梦中被杀人魔挑开手脚筋，制作成提线木偶，再操控他跳楼#猛鬼街3
在梦境中杀害孩子们的弗莱迪回来了。少女克里斯汀最近会陷入一个持续的噩梦中，她在那所自己制作的梦中房屋里险些死于弗莱迪之手——尽管在外人看来，克里斯汀更像是梦游或者自杀。于是，克里斯汀被送到了医院进行治疗，这里有多位和她一样受噩梦困扰的少年。曾经从弗莱迪手中逃脱的南茜（希瑟·兰根坎普HeatherLangenkamp饰）如今已是一位医生，她来到医院帮助克里斯汀和众少年，并且发现后者拥有将别人带入她梦中的能力，在医生科尔曼的协助下，南茜等人进入了克里斯汀的梦境，孩子们发现在梦中自己可以拥有不同寻常的能力，南茜随即准备带领他们与弗莱迪在梦中一战，熟料，古板的医院方面仍然认为孩子们不过是梦游和受臆想困扰……
讲述一个好心眼儿的纪录片导演一边完成一个项目，一边照顾自己的小侄子。
《最火搭档》讲述以警察卧底、警方线人、表面身份是小食店老板,Zoe被训练成忍辱负重的性子。为了达成任务，她牺牲许多又坚持下去，显出她强韧的一面。没错，她认真起来是很可怕的。平常笑容可掬，擅于与人打成一片，给人毫无杀伤力的感觉，因此那些罪犯都不防范于她，也因此她交游广阔，便利于打听消息。接触了不少失踪案，越查越上瘾，以寻回失踪者为己任。
这部纪录片剧集跟拍六支足球队及其队长，记录他们争取 2022 年国际足联世界杯参赛资格的历程 — 有人凯旋而归，也有人失意心碎。
Aheist-comedyfilmaboutagroupofpeoplewholivefromhandtomouthcometogetherasateamwithamissiontogettheirwinninglotteryticketsbackfromamafiacreditorwhotookthewinninglotteryticketswithoutknowingthatitwinstheprizeof30millionbaht!
高能氧气剧《蔚蓝50米》是以游泳运动为主题，讲述了游泳少年们为了梦想而奋斗的故事。
背负着一段破碎的恋情，甫由国外学成归来的纪星磊，回到了生长的土地，却在故乡熟悉的街道上，遇到了酷似已故女友黎贤的女孩！一番追逐，星磊才明白，眼前的女孩并非他思念至深的女友！她有不同的背景、不同的记忆、不同的名字！但这女孩身上，却有着一种他也无法言喻的熟悉气质，迫使他着魔似的追逐着这个名叫方晓阳的女孩。 徐咏薇是星磊的大学同学，她暗恋星磊多年，却始终无法打动星磊的心，只能痛苦的看着星磊爱上好友黎贤！黎贤的死亡，给了咏薇机会，她无怨无悔的的陪伴星磊渡过人生的黑暗期，让星磊被动的接受了咏薇！未料晓阳的出现，夺走了星磊，破坏了一切，逼得咏薇几近疯狂。 幼年，晓阳就失去了母亲，在姥姥的抚养下艰苦的长大。但面对逆境，她仍活的开朗乐观，朝着人生的理想勇敢迈进。 星磊的出现，扰乱了晓阳的生活，两人的恋情，引起咏薇的妒恨，也引来双方家长的反对。而青梅竹马的李刚此时也跳出来，向晓阳吐露隐藏多年的情感，晓阳赫然惊觉，与李刚多年的友情已然质变，晓阳更是彷徨无措！ 排山倒海而来的人情义理等压力，让晓阳想逃，但当星磊拿出彼此之间共有的信物『幸运星』时，晓阳再也无法逃避这份命运纠葛的情缘了！幸运星，连结着她四岁的一个美好下午，那天，她从一个陌生的小男孩手上，接过了这份慷慨的赠礼，当夜，晓阳母亲自杀…自此，幸运星便成了晓阳的心灵支柱…而星磊，原来竟是那个小男孩！ 眼见两人恋情如火如荼的发展，咏薇不择手段阻挡，她藉由长辈的力量向星磊逼婚。纪徐两家家长力促星磊与咏薇完婚，只有咏薇的继母方之勤却出面坚决反对这桩婚事到底！ 当之勤见到星磊父亲的那一刹那，就认出了那是曾让她痛不欲生的前夫纪博海！当年，婆婆以不能生育为由，逼迫之勤离婚，离婚后之勤却发现有了身孕。之勤不肯回夫家求援，陷入贫病交迫，更因之自杀，失去了记忆！幸蒙咏薇父亲徐子文医师搭救，子文细心呵护，治愈之勤身心，两人相恋结为连理！之勤虽在若干年后恢复了记忆，但时间的隔阂却让她再也找不回家人！ 这个事实，在纪徐两家间引发风暴！为了挽回星磊，咏薇以死相胁，右手也因此伤残！善良的晓阳极其不忍，悄然退让求去，与星磊的感情再次面临考验！ 此时，之勤爆发肝硬化恶疾，必须换肝，否则无法存活。走投无路的子文，无奈的对晓阳的姥姥披露出惊人的真相，之勤真实的身份，竟是晓阳生母！而晓阳与星磊竟是同父异母的亲手足！ 不知情的晓阳答应捐肝挽救之勤生命，而这场捐肝手术，却也让晓阳的生父纪博海循线追出了晓阳的身世！博海后悔自责之际，极力隐瞒事实，逼迫星磊与晓阳分手。但此举却让星磊更加坚定他对爱情的信念，决定带晓阳私奔。 私奔前夕，咏薇带着星磊的奶奶瑞华与母亲伟凌奔来阻止，咏薇愤恨的说出晓阳其实和星磊是同父异母的手足！星磊痛不欲生，为了保护晓阳，他恳求所有人告诉晓阳，就说他选择了咏薇，所以抛弃了晓阳…随后星磊陪着咏薇远赴异国疗伤止痛。 三年后，星磊回国了，却听闻李刚将与晓阳结婚的消息！星磊无法自抑的前往祝贺，却在途中车祸送医！这场车祸，逼出了星磊的生父生母！ 原来二十多年前，伟凌难产失去孩子、失去子宫，她害怕因此遭夫家嫌弃，于是向彭氏夫妇抱来星磊，伪装成亲生儿子抚养至今！得知自己的身世，星磊一时无法原谅伟凌，是伟凌的的欺瞒，害得他与晓阳横遭拆散，徒留憾恨！ 星磊找李刚谈判，才从李刚口中惊知晓阳因为捐肝救母，并发后遗症，一直为疾病所苦，可能不久于人世！ 晓阳不屈不挠的生命力深深感动了伟凌，伟凌决定设法成全两人。伟凌恳求李刚放手，她的认罪与忏悔，终于也打动了李刚，李刚决定把晓阳身边的位置，让给晓阳心所归属的男人──星磊。 李刚坚持取消婚礼，将结婚戒指还给晓阳！ 星磊带着晓阳回到俩人定情的海边，星磊指向海天交接的地平线说，那应该就是世界的尽头了！他凝视晓阳，告诉她：“不论是苦难，还是欢乐；是盼望，还是绝望，都让我陪着你，直到世界的尽头！”
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.