《假面》(페르소나)是四部短片组成的短片集，将于4月份登陆Netflix。四部短片分别由任弼星、李京美、金宗宽、全高云执导。裴斗娜、朴海秀也将出演。任弼星执导短片讲述一个魅力十足的女人，能够让任何男人为她放弃一生；李京美执导短片讲述两名女网球运动员的一场极具激情的比赛；金宗宽执导短片围绕一对在梦中再次相遇的恋人展开；全高云执导短片围绕两个发誓要甜蜜复仇的女孩展开。
一家银行遭遇抢劫，所有的证据都指向银行的老板和其客户，但随着FBI探员的深入调查，他们发现抢劫的背后有着更大的阴谋……
影史传奇中的传奇。《圣山》后佐杜洛斯基誓要改编科幻小说《沙丘》，目标远大到要改变世界，改变思维。他筹组史上最强战队，作实参演有奥逊威尔斯、米积加，甚至达利！ Moebius 当年的分镜图接成一个长镜头，满足何止影痴，更可确定随后而至的，从《异形》到《普罗米修斯》，都活在 那巨大魂魄下。佐杜洛斯基激情澎湃现身说法，「我强姦了原著」，谈组班过程奇情过瘾。筹备两年大洒金元，荷里活却步，巨作成泡影。献身的幕后战士，尔后在无数科幻片大放异彩。影痴必修的一课。
Apple TV+续订《德黑兰》第二季。 从第二季开始，本剧会成为Apple TV+在全世界范围的原创剧集，在以色列当地会同时上线Apple TV+和在Kan 11播出。
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.
一名已过而立之年的普通小白领，在都市中过着平淡无奇的生活，与妻子结婚多年，属于典型的妻管严。身处业务经理位置的他，事业高不成低不就，终日忙于应酬，回家之后还要对妻子张蕾蕾卑躬屈膝。某天，关西在应酬中...
凯丝（薇诺娜·瑞德 饰）和她的男友来到了红杉林中的一间偏远小屋，发现那里已经有一对年轻夫妇入住，很明显，这间小屋已经被预定了。由于无处可去，他们决定与这些陌生人共享小屋。当她的男友和这个年轻的女人神秘地消失时，凯丝有些不解，她找到了一个帮手，决定要寻找出事情的原因，但事实远比她想象的更诡异....
前美军特种兵兰森被美国人张伯伦雇用，带领一支由张伯伦、张伯伦的养女阿妮卡、大学教授萧安以及几个保镖组成的探险队，再危险偏僻的蒙古寻找一件无价之宝——由金银丝线织成，上面镶嵌着钻石珠宝的唐卡。这个唐卡不仅是当地的圣物，而且价值连城。这个无价之宝也让贪婪凶残的前俄罗斯军官朱柯夫垂涎。他一直跟踪着张伯伦等人。探险寻宝的过程中险象环生，探险队里的人一个一个地神秘死去，具有良知正义的兰森最后把唐卡留在了当地寺院，消失在血红的落日的余辉之中⋯⋯
深邃浩瀚的外层空间，蔚蓝的地球与深不见底、漆黑一片的宇宙形成鲜明对比。一台隶属美国的空间站，数名宇航人员正进行太空漫步，对所属卫星做着例行检查。初上太空的瑞安·斯通博士（桑德拉·布洛克 Sandra Bullock 饰）在经验丰富的宇航员麦特·科沃斯基（乔治·克鲁尼 George Clooney 饰）的协助下，有条不紊地检查每一个部件。此次是科沃斯基退休前的最后一次飞行，他幽默风趣地活跃着团队的氛围。就在此时，休士顿总部传来骇人消息，不久前行将废弃俄罗斯卫星被导弹击毁，碎片以超过子弹的速度在地球轨道上散开，并意外击中其他卫星，引起连锁反应制造了新的碎片。瑞安一行遭到碎片重创，有的同伴不幸身亡，而她和科沃斯基失去控制坠入宇宙深处。幸存的二人不得不彼此信赖，拼尽全力朝向故土前进……©豆瓣
天真派《红楼梦之桃花诗社》改编自四大名著之首的《红楼梦》，讲述了金陵十二钗副册和又副册之首香菱、晴雯的人生。香菱的故事，好比林黛玉的前传；晴雯则更似黛玉，历来研究认为“晴为黛影”。 故事从桃花诗社展开，藉由宝黛钗，引出了香菱和晴雯“梦幻情缘”，“薄命儿女”的命运。香菱学诗贯穿了她整个人生，梨香院中，夏金桂对她百般刁难，竟被折磨致死。晴雯生性娇俏，让袭人和小丫鬟坠儿心生嫌隙，最终王夫人将重病的晴雯赶出大观园。 宝玉魂归太虚幻境孽海情天，与黛玉、晴雯、香菱相见，得知前世本为神瑛侍者，黛玉原是绛珠仙草，为偿还侍者的灌溉之情，用凡间一世眼泪偿还，再生为三生石旁一株仙草。
讲述了由吕翔（叶子诚 饰）、白影（周升 饰）、张寒（敖翔 饰）、尉迟恪（裕东 饰）组成的新生代偶像A.C.E，为了梦想在娱乐公司作为练习生努力奋斗的故事。其中，吕翔是个性呆萌的主唱担当、灵魂歌者，公司太子爷白影是外冷内热、帅气多金的Rap担当，张寒是中二热血的主舞担当，尉迟恪则是温柔正直的暖男担当。 一场突如其来的车祸，将胖子吕飞（释小虎 饰）的身体里撞出另外一个帅哥吕翔，从此他过上了白天是帅气练习生、晚上是其貌不扬的便利店店员的“双面人生”。他一边准备出道，一边探寻换身的缘由。而女护士吴悠悠（金丽婷 饰）的出现，让吕飞的人生增加了一抹意外的色彩……