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本片根据挪威著名抵抗组织战士马克斯•马努斯的真实经历改编。 三十年代末期，战争的阴云笼罩欧洲大陆，德国和苏联从东、西两个方向蚕食欧洲诸国。1940年，马克斯•马努斯（Aksel Hennie 饰）同众多挪威青年组成志愿军赴芬兰参加“冬天战争”，以阻止苏联占领芬兰，后因德国出兵挪威，马努斯只得返回奥斯陆，筹办地下刊物宣传反纳粹主张。这份危险的事业导致马努斯被纳粹捉获，然而他涉险逃脱，并终于抵达苏格兰，接受了英方的严格训练。1943年，马努斯空降挪威，利用自制炸弹袭击德国舰只，由此，开始了他以精神病患者身份成为抵抗英雄的传奇人生…… 本片包揽2008年挪威电影阿曼达奖最佳电影、男主角、摄影、剧本等七项主要奖项。
退役国际刑警专家陆飞，结婚前夕遭遇未婚妻苏曼的不辞而别。路飞在寻找的过程中，从机场监控视频看到苏曼登机飞往东南亚A国，可机场信息显示该女子并不叫苏曼。路飞心中疑窦重重，为追寻真相追踪到东南亚A国首都。陆飞找到苏蔓唯一的哥哥苏盛，向他询问苏蔓的下落。苏盛推脱不知在想要溜走时，却被隐藏在暗处的狙击枪杀害。逃脱的陆飞暗中联系了警局内勤朱丽叶，得知以索里昂为首的国际恐怖组织在A国冒头。苏盛也不是苏蔓的哥哥，而是恐怖组织的一员。与此同时，A国首都开始频发知名人士被杀事件、整座城市笼罩在腥风血雨中，陆飞不仅要解开
生物学教授詹尼西尔（PierreBrasseur饰）因一次车祸使心爱的女儿克莉丝汀（EdithScob饰）面容尽毁，女儿伤愈后只能终日戴着瘆人的白色面具，痛苦非常。爱女心切且心怀内疚的詹尼西尔与助手路易丝（AlidaValli阿莉达•瓦莉饰）伪装克莉丝汀失踪、死亡的假象，暗中诱拐与女儿年龄相仿的女性，将其麻醉后剥掉面皮，移植到克莉丝汀脸上。但手术接连失败，牺牲者也不断增加。亲眼所见诸多同龄女孩惨遭杀害，克莉丝汀心中痛苦不已。另一方面，众多女孩失踪的案件也引起了警方的注意，他们逐渐将目标锁在疯狂的詹尼西尔身上……
蘭嶼紅蟲為患，被咬者皮膚痕癢、發高熱，甚至性命不保！島上人迷信，不信醫學，只信大頭目及巫醫巴達（黃宗迅）兩人。年青醫生何維德（張沖）學成到蘭嶼，一面行醫，一面找尋早前到蘭嶼研究紅蟲而失蹤的父親，因而與未婚妻白丹娜（何莉莉）鬧翻。何於蘭嶼認識紀神父（紀守常）及孤女雅蘭（鄭佩佩）。雅蘭愛上何，惹來大頭目之子西呼達（王俠）嫉妒，同時何為島民治病，令巫醫巴達信眾日減，西呼達、巴達均伺機殺何。何與雅蘭到紅頭峰森林尋父，身陷險境而不自知……
这是一个迷茫的80后年轻人经历了军队磨练，找到人生方向的故事。 王梓，现年十八岁。正如他的名字一样，他过着有如王子般的富裕生活。他性格顽劣，整日沉醉于奢靡的生活之中，对自己的未来茫然无知。直到一日，他的生活发生了翻天覆地的变化。曾经是侦查兵的父亲把他送进了部队这个大熔炉，希望部队能够改变掉他身上的恶习。 王梓并不甘心被父亲强送到部队当兵。初到部队的他试图逃跑。没想到阴差阳错前来接应他的朋友失约了，他误闯入团部门诊楼，遇到了军医蔡如佳。蔡如佳告诉他，只有真正的男人才勇于面对困难，才配得上成为一个真正的军人，而不是遇到困难就逃跑的胆小鬼。要强的王梓受到激将法，决心做一名合格的军人。他回到了新兵连，并且坚持了下来。可是由于他在新兵连糟糕的表现，他被分配到了炊事班。心高气傲的王梓愤愤不平，他希望自己能够是一个很帅的军人而不是天天拎着大勺的伙头军。一直以来总是心想事成的王梓开始质疑自己。身怀绝技的炊事班班长吴雄看到了王梓自身的潜质和心理上的障碍。吴雄告诉王梓，就算是粉条只要用心做也能变成鱼翅一样的味道。在吴雄的帮助下王梓，王梓重拾信心为重返战斗班刻苦训练，并且他也渐渐的更深入的明白军人的含义。 王梓回到了战斗班。他的新任班长陈锋不但是王梓新兵连时的代理排长，也是老班长吴雄所带的第一个兵。新班长陈锋由于王梓在新兵连时的糟糕表现并不喜欢王梓。在他看来王梓不过是一个少爷兵，他也更不理解老班长吴雄为何如此的关爱王梓。陈锋处处为难王梓，而王梓则一步步通过个人的优越表现征服着他的心。陈锋开始渐渐的喜欢上这个新兵蛋子。王梓也快乐得融入到集体中来。可就在即将进行一次全团演习选拔活动之时，王梓突然得到父亲破产的消息。彻夜未眠，让王梓在选拔活动中发挥失常。陈锋也再一次认定他不过是没有长性的少爷兵。 王梓心中的苦闷被老班长吴雄看到。吴雄找到陈锋，告诉他为何自己如此关爱王梓。他吴雄作为一名老兵即将转业复员，他希望自己的最后一个兵王梓能够和自己的第一个兵陈锋一样，是个好兵。陈锋理解了吴雄的苦心也知道王梓失利的缘由。为了军人的荣誉，他内心中决定让自己成为像吴雄这样优秀的老兵。他给与王梓鼓励并且给王梓请假，准许回家探亲。王梓在众多部队战友的鼓励下重新站了起来。他回到家中，成熟了许多的他给与父母了重拾生活的信心。与父亲的交谈也让他明白有时候失去一些东西的时候才能得到的更多。 王梓重返部队，幸运的他因为全团演习是要考察团队作战能力重获参赛资格。他珍惜这得来不易的资格，更加刻苦训练。在演习之中，王梓和陈锋遇到了前所未有的困难。此刻的王梓为了团队的胜利和军人的荣誉，他牺牲个人突围机会帮助陈锋突破封锁线。从而使全班成为此次全团演习的第一名。 当王梓和战友站在领奖台上的时候，老班长吴雄也无怨无悔的结束了自己的军旅生涯。这时，王梓告诉陈锋，只要用心做粉条也能变成鱼翅。 整个故事在一种轻松快乐的氛围中进行讲述，其中既有浓郁的年轻时尚感也有军队中的铁骨柔情。是一部针对年轻人而作的军旅青春励志电影。
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.
"Daughters of the Dust" tells the story of a family of African-Americans who have lived for many years on a Southern offshore island, and of how they come together one day in 1902 to celebrate their ancestors before some of them leave for the North. The film is narrated by an unborn child, and ancestors already dead also seem to be as present as the living.
过气女星艾青青（杨千嬅 饰）为了爱情嫁给了比自己年长的李姓商人（梁家辉 饰）。青青日益衰老，丈夫也周旋在众多年轻女子身边。青青为了挽回婚姻，千辛万苦找到了媚姨（白灵 饰），她用婴胎做馅所包的饺子，据说吃了之后能使人恢复青春。刚开始青青还是有很大的抗拒感，可是渐渐她就习惯了，但丈夫还是无动于衷，她要求媚姨找到效果更好的极品。这时一个被父亲强奸的女孩来到要求媚姨帮忙打掉孩子，婴儿正是刚好5个月的“极品”，正合青青的意思。但当丈夫重新回到青青怀抱的时候，青青的身上莫名散发着难闻的腥臭味……
为什么他们相遇时间总是不对？待相爱时，却无法真正拥有对方。相聚都谈不上，就要谈[分手]，这是命运的捉弄亦或缘浅？盼云和高寒之间，聚也 依依，何时才能真正相偎？真正相依？盼云嫁入钟家没多久，先生就过世，而在宠物店因为买狗第一次与高寒见面。在一次舞会中，高寒认识了钟可慧，在钟家再次 再到盼云，从那时起他爱上了盼云，常常去钟家就是为了见盼云，虽然盼云心里也爱高寒，但还是顾虑到可慧也爱高寒，所以一直没办法接受高寒，一直拒绝他。
随性而又充满阳光的尚天是广告设计师，有三个大学死党：沈新、玖零和开淘宝店的雨彤。充满豪情的尚天辞职开了自己的设计工作室，却因为父亲公司的债务问题，让自己刚刚起步的事业遭受了重创，雨彤和费小白相亲，好友沈新和玖零搅黄了相亲局，没想到也因此惹来了麻烦。费小白不断纠缠雨彤不仅设计陷害了她，还乘人之危将尚天的设计稿费据为己有，一时间阴谋、算计、背叛和各种疑心充斥在这群青年人中间，究竟他们如何突围，这一切都是他们青春路上的考验……
有村架纯将主演人气漫画《前科者》改编的同名电影和日剧，导演是2018年凭借《啊，荒野》获得众多奖项的岸善幸。 《前科者》是著名作家香川まさひと的漫画作品。 香川まさひと活跃于日本影视界，漫画界等多个领域，电影剧本方面创作过《剪刀男》《 结婚欺诈师》《羊之木》等，而漫画方面则有《法医朝颜》等代表作。《前科者》于2018年开始连载，聚焦有过犯罪前科的人群，描写他们如何重返社会的故事。而此次有村架纯扮演的角色是辅助这些人的保护司，保护司表面上是国家公务员，但其实是没有任何酬劳的志愿者。 《前科者》的电影版将于2022年上映，2021年秋天WOWOW将先行播出日剧版