1943年，敌后战场形势发生重大变化，抗日根据地度过最困难时期，并不断发展壮大，我八路军逐步对日伪采取攻势作战，开始局部反攻。周边数座县城被解放，安邱城也势如累卵，旦夕可下，满城日伪人心惶惶，人民群众暗中拍手称快。
一部以韩国KBS 1TV人气节目”全国歌唱竞赛“为背景讲述在参加竞赛的普通人身上发生的故事。
基于Lauren Redniss所著小说《Marie & Pierre Curie: A Tale of Love and Fallout》，聚焦玛丽·居里和皮埃尔·居里夫妻对科学的探索和两人之间的关系。
国际刑警联合泰国军队，火烧金三角中断毒品来源，黑帮、毒臬联手报复，派人潜入刑警档案室，盗取刑警档案，刑警每出动一人，便即遭暗杀，黑帮为补偿损失，进行一名为“黑色十字”计划，刑警苦无良策下，得美国毒品调查可资助，雇请织协助对抗，惟是黑帮人强马壮，织只能智取抗敌，一场海、陆、空大决战便即时爆发。
王舒望和陆露在泰国相遇相识，经历了一系列惊心动魄的事情之后，相爱了。回国后，两人准备结婚，却遭到了双方家庭的反对。王舒望放弃了北京的事业，来到上海，开了一家陶瓷店，向陆露的家人证明自己可以给陆露更好的生活。陆露的父母依旧认为王舒望和陆露不合适，不同意他们的婚事。王舒望的异父异母姐姐赵燕也多次来到上海，还和陆露的妈妈蒋妙音发生了争吵。这让两人的婚事再度拖延。陆露和王舒望的爱情不断经受着来自双方家庭的打击和考验。陆露作为一名编剧，一直追求着事业上的成功，王舒望则希望能够过田园式的生活。陆露因为工作的缘故认识了大明星淳于秋，淳于秋表面看起来风光无限，但其实却为了事业隐瞒了自己曾经结婚又离婚的事实。直到她的前妻珠珠生下孩子，大闹淳于秋电影发布会之后，才让这一段故事公诸于众。淳于秋在陆露的开导下，接受了孩子。他和陆露一起合作电影，事业也迎来了新的天地。淳于秋喜欢陆露乐观上进的生活态度，决定要追求她。陆露的好闺蜜马丝丝是一家服装店店主，在见到王舒望之后，被他迷住了。为了得到王舒望，她用尽心机和手段，不惜和陆露闹掰。陆露因为马丝丝与王舒望起了很大的误会，好在最终都化解了。陆露拒绝了淳于秋的追求，和王舒望和好如初。马丝丝经历了一系列事情之后，明白了友情的珍贵，深深祝福了陆露和王舒望。陆露和王舒望经历了来自家庭、朋友、事业等方方面面的考验之后，终于走到了一起。王舒望和淳于秋为了陆露不打不相识，最终也成为了好朋友。
一名天文学家和一个密码解译者发现了一些古代的隧道，不料无意中释放了致命的狮身人面怪物斯芬克斯。要阻止即将到来的灾难，他们必须去解开那些与之有关的复杂且可能致命的谜题。
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.
The film homes in on 18-year-old Alex who’s been a fan of the Arthur fantasy film series since he was a child. When his close-knit group of friends surprises him with trip to an abandoned house where the film was shot, they unwittingly walk headlong into a twisted, mortal trap. What was once a childhood dream soon turns into a very real nightmare...
故事灵感来源于上世纪80年代-90年代发生在悉尼的、针对同性恋人群的系列案件。该剧将故事地点转移到虚构的Bondi市，Tori Lustigman侦探（Yael Stone）和Nick Manning侦探（Naoh Taylor）对序列人身伤害和谋杀案展开调查。(cr 天涯小筑)
退休军官老丁（洪金宝 饰）因“健忘症”弄丢孙女，内疚回到老家。邻居小女孩春花（陈沛妍 饰）成为他的慰藉。可女孩的父亲（刘德华 饰）无意卷入了当地黑帮团伙的争斗中。老丁为营救春花挺身而出，也寻回那份作为军人的骄傲和弥补作为爷爷的过错。
王小米（王晓晨 饰）理想中的爱情就是被当成小女儿一般的宠爱，因此，她最后决定嫁给年长她非常多的马克（张嘉译 饰）为妻。虽然马克的确非常的宠溺王小米，将她捧在手心上疼爱，可是现实毕竟是现实，要比王小米想象中的残酷的多。 马克有过一段失败的婚姻，和妻子离婚后，女儿马莉由他抚养。这也就意味着，王小米从嫁给了马克的那一刻起，就正式成为了一名后妈。更糟的是，马莉正值十五岁的叛逆年龄，对比自己大不了多少的后妈有非常严重的抵触心理，再加上马克的前妻总是阴魂不散的屡屡出现在他们的生活里，随着时间的推移，王小米渐渐感到力不从心。
1911年4月，广州黄花岗起义失败，清政府开始大肆搜捕革命党人。海城作为广州通往内地的重要关卡，随着大批清廷密探的到来，也变得情势紧张起来。夏至上午，柳晚晴在海城医院得知自己怀孕。她欣喜地接通了丈夫谢志远的电话，可还没来得及说出这个喜讯，就被丈夫告知他要出差，然后匆匆挂了电话。当天午夜，两名警察匆匆敲开谢家的门，带来了谢志远遭遇车祸的噩耗。柳晚晴赶到医院，发现丈夫已经遇难身亡。更让她无法接受的是：与丈夫一同遭遇车祸的还有一位妙龄女子王心茹。从车上的行李和找到的两张船票来看，两个人显然是约好了私奔。在警察局，柳晚晴还遇到了为那个妙龄女子处理后事的男人，他叫萧枫，是王心茹的丈夫。萧枫告诉她：在整理遗物的过程中，发现了一把钥匙，沿着这个线索，他找到了谢志远和王心茹秘密幽会的旅馆。柳晚晴终于相信这个令人晴天霹雳的“事实”。也许是同命相怜，柳晚晴渐渐对正直温柔的萧枫产生了好感。可就在这个时候，柳晚晴发现了一件极其可疑的事情--萧枫向警察撒了谎，谢志远出车祸那天，萧枫并不是如他所说在家中养病，而是开车出了趟城。可他为什么要隐瞒呢？难道他和丈夫的死有什么牵连？怀着这些疑问，柳晚晴开始了自己的调查。她发现丈夫出事那辆汽车轮胎曾被子弹射穿，而萧枫抽屉里有一把手枪，弹夹中的子弹与射穿轮胎的子弹是同一型号。萧枫向晚晴坦白：那次车祸不是意外。晚晴原谅了萧枫。隔日，柳晚晴身体不舒服，萧枫陪她去海城医院检查身体，在萧枫走后，柳晚晴顺便问了一下王心茹生前的情况。结果发现了一件更为可怕的事情：王心茹根本没有结过婚，更没有所谓的丈夫！柳晚晴开始悄悄跟踪萧枫，竟一路来到了谢志远和王心茹幽会过的旅馆。更让柳晚晴大吃一惊的是：那个在车祸中丧生的王心茹居然死而复生！萧枫和她约在旅馆见面，两个人似乎有着不可告人的秘密。萧枫和王心茹的真实身份究竟是谁？他们为什么要费尽心思接近柳晚晴？谢志远到底是生还是死？