聪明活泼的逗逗、迪迪希望能够成为帮助村民解决各种问题的酷比侦探。爷爷告诉他们：要成为真正的酷比侦探，必须通过重重考验，集齐100枚酷比徽章。他们 接到村民们的求救：甜甜无故失踪、考拉的蛋糕被偷、阳光森林出现怪物。为了帮助村民，他们勇敢地开始了一系列充满冒险、趣味十足的“侦探之旅”。通过细心 观察、层层推理，他们最终为村民们解决了一个又一个的难题，如愿获得酷比徽章。
彩灵堡的公主—-彩俐，和小魔仙施巧灵、蓝慧和殷小敏为了拿到彩石宝盒，恢复彩灵堡的色彩能量，与黑咒魔王及其带领的黑豆兵各种斗智斗勇，在人类朋友及小魔仙们的帮助下，彩俐公主顺利地收集齐能量宝石，击败了黑咒魔王和黑气魔，顺利收回宝盒，解救了国王王后。恢复了彩灵堡的和平、美丽。
该剧讲述烟花师望月星太郎（高桥一生饰）与本应去世却又出现的父亲望月航（桥爪功饰）的奇幻日常。
Awickedlydarkcomedyfollowsdominatrix,Rebecca(MargaretQualley),andherwealthyclient,Hal(ChristopherAbbott),astheyengageinahighstakesroleplayinggameforpowerandcontrol.Inthewakeofinheritinghisfather’shotelchain,HalattemptstoendhislongandsecretrelationshipwithRebecca.Abattleofwillsensuesoverthecourseofoneincrediblyfraughtnight,withbothRebeccaandHalstrugglingtokeeptheupperhandasthepowerdynamicsswingwildlybackandforth.
本剧以崭新的视角和手法，在详尽细致地描写了罪犯张世豪惊世骇俗的犯罪过程的同时，更追叙了张世豪曲折的成长经历，及其与妻子郭金凤近20年的爱恨孽缘。触目惊心地展现了这一犯罪集团暴力抢劫、绑架勒索、走私军火等累累恶迹。同时通过表现内地和香港警察通力合作，不畏艰险，与犯罪分子斗智斗勇的故事，歌颂了他们的足智多谋和英勇善战，警示那些妄图以身试法的罪犯，天网恢恢，插翅难逃。
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.
HBO过去直接10集预订以色列背景限定剧《我们的男孩 Our Boys》，由Hagai Levi﹑Joseph Cedar及Tawfik Abu-Wael主创，现定于美国时间8月12日两集首播。 该剧根据真实事件改篇，讲述一件2014年夏季的悲剧事件。当时有三个犹太青少年失踪（在现实中以色列认定是巴勒斯坦武装组织哈马斯所为，激化了以巴关系）；两天后，在耶路撒冷东部的西郊森林里，一名巴勒斯坦青少年的烧焦尸体被发现，这令到以色列辛贝反情报与国内安全局（类似FBI的组织）的探员介入调查，而死者的父母为了寻求正义及安慰，因此开始了漫长﹑痛苦的过程。 在现实，三人失踪18天后尸体被寻获，据报导指他们被绑架后不久即遭枪杀。
叶兰与路建国结婚多年，常常因生活中鸡毛蒜皮的琐事拌嘴，在第20个结婚纪念日，两人终于再起争执闹到离婚，路建国一气之下离家出走并失去联系。此时路建国的侄子路大民却突然出现，打乱了叶兰原本的生活：不仅和路建国儿子路小飞成为哥们，并帮他追求心仪的姑娘yoyo，还把路建国的情敌萧峰(黄征饰)狠狠整蛊了一番。更令叶兰感到奇怪的是，路大民不止长得跟年轻时的路建国一模一样，就连神态动作举手投足也毫无差别，令叶兰产生心动的错觉。而一直没有音讯的路建国也仿佛人间蒸发了一般，直到叶兰看到路大民跳出了只有路建国才会的路式旋转舞…
电影《星星之火》以艾华等同志根据毛主席指示探寻中共一大山东代表王尽美及其家人生活足迹为线索，以胶东的一个小山村为切入点，一点点地展现了党的先驱和创始人之一王尽美同志求学济南、开办夜校、成立济南共产主义小组、参加中共一大、留学苏联、领导工人运动直至积劳成疾、英年早逝的革命历程。
本片讲的是萨金特·约瑟夫·胡佛为了捍卫联盟参与到了战争。他被捕后被送到了战争集中营，他才明白一直以来与自己意愿背道而驰的是什么？他和一位朋友逃离集中营，并且在奴隶的帮助里得到真正的自由。他为了给与奴隶自由而加入战争，反过头来确是奴隶帮助他得到了自由。本片旨在向一群在内战中用自己的坚持和忠诚建立了地下铁路的人们致敬。它虽然不是好莱坞商业大片，但是制作质量优良。影片故事会给人留下深刻的印象。影片中，萨金特·约瑟夫·胡佛，新的朋友，新的联盟，全新的目标让主角坚持生活下去，他就是为了拯救那些奴隶。他想尽办法，通过各种实验和测试，想要让奴隶逃脱，获得自由。他最终明白并没有真正的自由，解救奴隶却让更多无辜的人付出惨痛的代价。