本片根据真实案件改编。阿尔弗雷德·弗雷迪（安东尼·霍普金斯 Anthony Hopkins 饰）是世界著名啤酒巨头喜力啤酒的总裁，他因喜力啤酒而世界闻名。但是在1983年的三周里，他却因为另一事件闻名。因为在11月初，他遭到了绑架，并且和他的司机做了三个礼拜的人质。
导演：穆罕默德拉克达哈米、 主演：莱拉奢那、穆罕默德拉克达哈米、夭戈沃雅吉斯、 这部于当年获得戛纳金棕榈大奖的影片，无论在何时看到，你都会为它的史诗风格所倾倒，影片以阿尔及利亚的独立解放史为基础，通过六个章节，为观众谱写了一曲献给阿尔及利亚人民的史诗。 影片故事从1939年开始到1954年11月11日著名的阿尔及利亚战争开始结束，影片分为：Les Années de Cendre、Les Années de Braise、Les Années de Feu、L'Année de la Charrette、L'Année de la Charge和Le 11 novembre 1954六个章节，全片以一种漫长的叙述，让人们了解了阿尔及利亚人民是怎样从殖民的苦难中走出来的，阿尔及利亚人民的独立和复兴并不是一种历史的偶然，他们为自由而做出的巨大牺牲，创造了无愧于祖先和后人的荣耀历史。 这是一部伟大的电影，也许它在技术上没有什么值得炫耀，但影片那朴实无华的画面却记录了对于整个人类都具有重大意义的史实，对于电影来说，奖项可能是最好的赞誉，但对于每个热爱自由的人们来说，它远远大于那些宣传和说教，它是一本人类争取自由的圣经。 本片导演穆罕默德拉克达哈米，1934年2月26日生于阿尔及利亚的M'sila，是阿尔及利亚电影发展的关键人物，曾到捷克斯洛伐克受过电影培训，起初以制作导演纪录片开始其电影生涯；1966年，他的处女作《Le Vent des Aurès奥雷斯山上的风》是阿尔及利亚第一获得国际关注的影片，并在当年戛纳电影节上获得了最佳处女作奖，1974年的本片为他获得了金棕榈大奖，在穆罕默德拉克达哈米二十年的电影生涯中，他一共导演了六部影片，而且大都是自己编剧，前后共获得过四次金棕榈提名，1986年，他在拍摄了影片《La Dernière Image最后的画面》后，从此再也没有新作问世，该片也成为了他留给人们的最后的画面。 获奖情况： 第28届戛纳电影节最佳影片（金棕榈奖）
《幸福在歌唱》是以一个戏班子里的一个丑角在人生最惨痛的那瞬间，悟出了身为丑角，不是作为玩物，逗观众笑，而是让观众哭的最高境界的过程。小时候的冯磊有一次目睹自己童年的玩伴张丽华，死活不敢在爷爷的葬礼上给爷爷穿上鞋，被大人揍了一顿。小冯磊发誓要好好保护张丽华。但不久，张丽华一家迁到横琴去了，从此和张丽华失去了联系。青年冯磊慢慢长大了，他和很多农村的青年人一样，随着村里的人进城打工。一次，他被一个小丑的表演迷住了。他去了后台，在他的坚持下，小丑，也就是他以后的师傅，收下了他。师傅跟冯磊说：我演了一辈子的丑角，可是我都没有做到我师父告诉我的那样，丑角的最高境界不是逗观众笑，而是笑中有泪。一天，班子被邀请去捧场，冯磊遇上了他失散多年的童年好友—张丽华。张丽华大学毕业来到这个城市。但现实的生活并不如意。还好有大学同学马少天一直陪伴在左右。张丽华已经成长为一个聪明，独立的女大学生。冯磊告诉马少天，两人谈了很多和张丽华有关的话题，冯磊讲了张丽华的童年很多故事，也讲了自己小时候悄悄的发誓。张丽华恋爱了，对象是班子里的一个武生。冯磊特别担心张丽华，果真有一天，王建军抛弃了张丽华，张丽华自杀。在医院里，冯磊没有哭，只是跪下，给张丽华穿上鞋。在那一瞬间，冯磊尝到了人生的极苦，自己在舞台上演出了丑角的最高境界。
心脏，是人最重要器官之一，而心脏疾病是威胁人类健康的头号杀手，治疗心脏疾病的新技术融合了人类勇气和智慧的结晶，体现着当今最顶尖的医疗科技。片中以医学为切入点，带领观众认识心脏的“史诗”，通过与心脏有关的科普和现实案例，展现了对心脏认知的探索以及医疗技术的最新进展。
大商人吉里·巴滋洛特的船上的货物像是咖啡豆，但是在便衣侦探斯坦·贝克看来却有些异样，贝克在其中的一个麻袋里，发现一种用于加工核武器的放射性物质，他还发现自己的侄女娜塔莎是巴滋洛特的情妇，这就更加大了他的怀aaa。他把娜塔莎从巴滋洛特戒备森严的豪宅中“绑架”出来，斯坦警告她有关她情人的生意。但娜塔莎不相信。而贝克已经发现了足以将巴兹洛特关进监狱许多年的罪证：他不仅发现了放射性物质钚，而且发现了由一个第三世界国家订货的成千上万的矿物。但如何在大海上抓到他，尤其是在巴兹洛特自己的船上，特别是还有一个雇佣杀手在逃......
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.
讲述93-95年得州小镇里的两个女主角，第一个是Kate，在剧中被绑架，另一是Jeanette，甜美﹑不擅社交的她成为了镇上 最受欢迎的人，但于95年时成为全美最被鄙视的人。剧集每集都以这两女主的视角描述剧情，然后慢慢披露事情的真相。
直面大学生就业难题的电影《旭东》，讲述了来自农村的主人翁王旭东大学毕业后虽然成绩优异，但因为没有过硬的人际关系而不能留在城市里工作，他的同学舒鹏家境优越，毕业后一切都被有权有势的家长安排得妥妥当当，两人的命运因此发生天翻地覆的改变。几经周折，王旭东最终选择回到农村教学，开拓一番新天地。
东京临海警署刑事课強行犯系正在忙于调查大厦保洁公司社长被杀一案，新人刑警神木恭子的报到，让课里的人觉得新人女警就是个累赘，刑事主任折原的态度也令人难以接近。作为见习，分配给神木的工作是案件搜查本部的一些杂活，然而在偶然从资料上看见犯人形象后，神木决定独自展开调查。
翻拍自2003年电影《魔鬼之后》，第一世得不到女主的爱，第二世还是爱得那么卑微，遭到惊扰而复活的吸血鬼 Maekin (Cee) 回来清算自己同前世恋人 Rommance (Noona) 及情敌 Witawat(Ohm) 之间的爱恨纠葛。