宇宙世纪0068年，居住在SIDE3的慕佐自治共和国议长发表完《完全独立宣言》后意外身亡，由此引发了连番的动乱，许多人的命运也就此发生根本转变。转眼来到宇宙世纪0074年，爱德华·玛斯（池田秀一配音）以夏亚·阿兹纳布的身份进入吉恩自治共和国国防军官学校学习。在那里，他与来自SIDE3的名门子弟格尔玛（柿原彻也饰）互相赏识，成为模拟好友。宇宙世纪0077年，学生们揭竿而起，发起了针对地球联邦军的武装起义。对夏亚来说，他的复仇也由此拉开序幕……
古淳（裴淳华RosamundPike饰）是在镇上学校里任职的教师，长久以来，她一直过着简朴而又风平浪静的生活。某天，她那久未谋面的妹妹厄苏拉（蕾切尔·斯特灵RachaelStirling）返回了家乡，经过了长久的分离之后，这对姐妹再度住到了同一屋檐下。如今的厄苏拉是一名自由派艺术家，天性喜爱自由的她一直以来都过着放浪不羁的生活，家乡美丽的风景激发着她热烈的创作欲望。在这样一种情况下，古淳和厄苏拉邂逅了格雷德（约瑟夫·马勒JosephMawle饰）和卢佩特（罗里·金尼尔RoryKinnear饰）两名男子。很快，古淳就和卢佩特坠入了情网，与此同时，厄苏拉和格雷德也打得火热。
第四季《王牌对王牌》是浙江卫视推出的星素结合暖情互动挑战类棚内综艺节目，由浙江卫视节目中心制作，2019年第一季度每周五晚间在浙江卫视播出。每期根据不同主题，揭开“王牌守护使者”设置的层层关卡，由沈腾、贾玲、华晨宇、关晓彤组成“王牌家族”，与另一队主题嘉宾互动挑战。本季节目核心理念为：苦练一招一式，争做时代王牌。四位MC 组成的“王牌家族”，在与不同主题星素嘉宾的互动与挑战中，不仅充分展示各自的特长与魅力，更发挥潜力，学习新技能，塑造积极健康活泼向上的“王牌精神”。
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.
著名律师、大学教授艾玛·苏拉里斯周末去看望她最好的朋友，帮这位朋友走出离婚后的悲伤。在度假期间，艾玛遇到了 23 岁的达里奥·奎拉，他们进行了一次疯狂的幽会。回到家中和丈夫及女儿在一起后，她决心忘记自己的判断失误，但她的生活变成了人间地狱。一开始只是个小冒险，后来变成了一种燃烧的激情，然后是一种危险的痴迷，进而解开了有关过去的一连串秘密，以致命的方式将他们所有人联系起来。
8月14日 22-23赛季英超第2轮 布伦特福德VS曼联
Sex workers Holiday, Endza, Cayenne, and Jessie give clients intimate experiences ranging from the pleasurable to the painful. In the process, they give a deep dive into their personal lives. Following these four sex workers in Seattle, Sex Next Door is a documentary with unprecedented, uncensored access into the sex work industry. The series pulls back the curtain on an often ...
源内苍（日笠阳子 配音）是一名十分平凡的高中一年级女生，一天，她收到了一个神秘的包裹，拆开了包装，出现在小苍面前的，是名叫“Frame Arms Girl”的小型机器人轰雷（佳穗成美 配音）。轰雷可不是一般的机器人，她拥有着自我的意识，能够通过学习人类的感情与战斗方式而不断地自我进化，就这样，小苍和轰雷的同居生活拉开了帷幕。 除了轰雷外，还存在着别的机甲少女。个性十分傲娇的短剑（绫濑有 配音）、性格单纯但拥有着广袤的知识的闪燕（长江里加 配音）、行事大大咧咧但充满了正义感的迅雷（桦山南 配音）、没有一丝感情沉默寡言的骨姬（山村响 配音），在轰雷之后，她们接二连三的出现在了小苍的身边。
在刑警学院任职的物理天才唐川（王凯饰）与中学教师石泓（张鲁一饰）年少相识，因彼此对数学的共同兴趣而惺惺相惜，多年后唐川在调查一桩杀人案时，身为石泓邻居的陈婧（林心如饰）被列入警方的“嫌疑人”之中，石泓与唐川因此再度重逢，而唐川却在调查中发现了更大的秘密……
真壁政宗（花江夏树 配音）小时候是个小胖子，被同班同学取了“猪脚”的绰号，整日生活在自卑和嘲笑之中，之后，政宗转校，同时接受了为期八年的训练，终于恢复了正常人的身材，亦意外的发现自己其实拥有一副帅气的面孔。如今，政宗回到了曾经生活过的城市，满腔怒火的他制定了一系列报复计 划，发誓要让当年给他取绰号的女孩安达垣爱姬（大桥彩香 配音）体会一下他曾经体会过的屈辱。 和政宗有着相似经历的千金大小姐藤之宫宁子（三森铃子 配音）、沉默寡言内向腹黑的小岩井吉乃（水濑祈 配音）、沉迷于耽美文化的腐女子双叶妙（田所梓 配音），在这些可爱女孩子们的围绕下，政宗的复仇计划能够顺利实施吗？