故事发生在一八三六年的春天，乔治桑（朱迪·戴维斯JudyDavis饰）是当时坊间出了名的“交际花”，她不仅在文学创作上有着过人的天赋，更为了争取女性权利而做着不懈的努力。在家庭教师梅里菲（乔治斯·科拉菲斯GeorgesCorraface饰）和诗人墨赛（曼迪·帕廷金MandyPatinkin饰）之间周旋的这段风流韵事更是给乔治桑的身世平添了几分神秘而又浪漫的色彩。某日，乔治桑前去拜访音乐家李斯特（朱利安·山德斯JulianSands饰），刚巧遇见了年轻的作曲家肖邦（休·格兰特HughGrant饰），肖邦的风趣和潇洒吸引了乔治桑，趣味相投心心相惜的两人很快就走到了一起，共同谱写一首为后人津津乐道的浪漫恋曲。
为了不让女儿被恶魔附身，一对夫妇展开了逃亡的战斗。 A couple on the run battle to save their daughter from possession by a demon.
故事发生在遥远的未来时代，日本财政陷入了巨大的危机之中，就在国家即将崩溃之时，一个名为“SovereignWealthFund”的金融机构出现，成功的挽救了摇摇欲坠的日本。尽管经济危机得到了缓解，但城市却因长久以来的缺乏管理而陷入了混乱，失业率、自杀率和犯罪率急速上升。余贺公麿（内山昂辉配音）的母亲早逝，父亲亦不知所踪，在舅母的抚养下长大成人的他就读于经济学部。家庭温暖的缺失让公麿十分渴望能够拥有一个稳定的家，某一日，他在银行中遇见了一位神秘的男子真坂木（樱井孝宏配音），男子以公麿的未来作为抵押，借给了公麿大量金钱，公麿就此进入了异空间“金融街”，在那里，有许多和他一样失去了未来的人们，靠着战斗来实现各自的梦想。
《美女上错身》（DropDeadDiva）迎来一则好消息。虽然Lifetime台在年初决定取消该剧，但近日该台已经改变想法，续订第五季。早前制作室和电视台就第五季削减资金问题形成纠纷，现在双方已经达成了协议。志气高昂的模特死后被困到了胖胖律师简的身体里，故事围绕简的律师生涯展开。《美女上错身》第四季结局收视率创造全剧新高，达到276万。该集以一个重大转折收场，简的未婚夫去世，简真实的灵魂回到其未婚夫的身体里。
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.
A romance historical drama set in Joseon in the year of the Rat.
故事开始于1976年的8月，年幼的菲古斯结识了他日后一生的挚友弗兰奇，两个天真单纯的男孩之间结下了深厚而又真挚的友谊。长大后，他们双双加入了英国特种精英部队，为国家卖命。时间一晃来到了2004年，辞职后的菲古斯和弗兰奇决定前往巴格达在那里组建他们的安保小组。然而，一场意外中，弗兰奇不幸失去了生命，菲古斯不愿意相信警方给出的模棱两可漏洞百出的结案报告，于是决定依靠自己的力量调查好友死亡的真相。唯一支持和帮助菲古斯的，是弗兰奇的恋人瑞秋，在两人寻找证据接近真相的同时，他们之间亦产生了美好的感情
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一位穷途潦倒的电影明星，希望能够在百老汇的舞台上有东山再起的机会。而在他努力重振事业的过程中，遇到了疯狂的天才导演杰克·布坎南，也得到了剧中女主角南妮特法瑞的爱情。
林遣都、小松菜奈将主演新片[爱情寄生虫](恋する寄生虫，暂译)。影片由MV、广告导演柿本宪作执导，改编自大热同名小说，故事围绕年轻人高坂由于性格极其天真故而孤零零地过着自己的时光，没有和任何人建立人际...
功成名就的筱月桂从没忘记要寻找杀死常力雄，也就是她女儿父亲的凶手当她发现自己爱上黄佩玉时，也证实了“洪门内奸的真正身份”......她与常爷的前跟班余其扬合谋除去内奸，助余其扬成为洪门第一个银行家，新的“上海王”。时过多年，筱月桂女儿常荔荔从美国学成归来，迷上电影，在母亲等人的帮助下，成为轰动一时的大明星。一次意外，筱月桂撞破女儿与余其扬的关系......三个人的命运也自此改变。
《有这样一个医生》以“小处方医生”王争艳为患者精心诊疗的真实故事为主线，艺术地再现了她一心想着患者、一切为了患者的感人事迹，讴歌了大爱无疆的上医情怀和高尚职业道德。《有这样一个医生》，展现一个真实、平凡和亲切的社区医生，让老百姓感觉这才是自己的贴心人。随着影片情节的展开，观众被片中“杨正艳”质朴、真诚的个性打动。影片的播映将让更多群众了解王争艳，让更多医务工作者学习王争艳，为促进医疗卫生事业发展和增进医患间理解信任作出贡献。