开心女鬼郑裕玲，整蛊作怪，笑料百出！ 大情大性的傻大姐杨巧儿（郑裕玲 饰），虽为风尘女子，却是一个对爱情死心塌地的人。一次巧儿与男友因婚事闹翻，一怒之下自杀枉死。她阴魂不散，徘徊天界，遇上珍妃（吕有慧 饰），在其循循善诱下行善积德，欲投胎转世为人。 在投胎期限前，巧儿多次下凡，与自小相依为命的妹妹可儿（邓萃雯 饰）共度天伦。另方面，哈家明（林立三 饰）对可儿照顾有加，令巧儿萌生爱意，从而发展了一段人鬼恋。 明的哥哥家光（吕良伟 饰）是巧儿的生前好友，被涉及一宗杀人事件中，得巧儿之助，幸免于难，惟巧儿却因此放弃了投胎的机会。本来巧儿将如烟雾般消逝，但天意莫测，她与明最后竟在一个奇特的环境下重逢……
影片以中华人文始祖轩辕黄帝（于波 饰）与元妃嫘祖（周韦彤 饰）的传奇爱情故事为线索，讲述了五千年前有熊氏部落首领姬地率领族人渡黄河、斗猛兽、联合氏族战蚩尤（苏登扎木苏 饰）、最终统一华夏各部落的壮阔史诗。演绎黄帝、炎帝（王顺德 饰）、蚩尤三大部落的兴衰聚散，成功再现了远古华夏民族壮阔感人的发展历程。
张少阳（张玉轩饰）一直暗恋女神温思思（白云饰），想毕业之际在思思楼下表白。不巧的是，女神思思的隔壁住着一个绰号叫做菜刀妹（魏小欢饰）的女孩，大名也叫思思。张少阳的表白却被菜刀妹以为是对自己表白，因此引发了一场荒唐的故事。每个人面对感情都有迷茫的时候，但我们永远都不会忘记危难的时候勇于挺身而出帮助过自己的人。只有在这时我们才能看透一个人的真心，张少阳在最后也意识到，菜刀妹才是和自己最合适的人。
著名摄影师克里斯蒂娜·埃姆斯意外去世，留下与她疏远的女儿梅（Mae），梅感到伤心、愤怒，但又疑问重重。当梅发现一张藏在保险箱里的照片时，她开始钻研她母亲的早年生活——这项调查导致了她与一位记者的一段意想不到的恋情。©豆瓣
为了寻找传统傩戏的素材，在上海一家影视文化公司工作的女孩青青来到婺源，美丽的乡村风光以及淳朴、和谐的人情美和人性美深深地感染了她，她和当地青年胡江童之间萌发了纯真的爱情，她的人生轨迹也因此而改变。
《巴斯特·斯克鲁格斯的歌谣》是由六个部分组成的西部题材选集电影，乔尔·科恩和伊桑·科恩利用他们独树一帜又无与伦比的视角，讲述了关于美国边境的系列故事。电影的每一章都讲述了一则独特的美国西部故事。
一宗国际名模涉嫌虐待女儿的冤案，竟成了法律界、权贵与名媛之间的角力场！社会金字塔顶层的钟氏家族，如何用尽权力与资源去自保？以林凉水（黄子华 饰）为代表的律师们又如何在重重困难下伸张正义？
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.
已婚男人何慕洋（刘冠男 饰）在意外邂逅女记者任梦（戴韩安妮 饰）后，坠入了爱河。妻子江欣非常伤心，何慕洋在婚姻与情感之间的纠缠也身心俱疲，事业更是遭遇了严重危机。最终任梦选择了离开，何慕洋也重新回归到了家庭。
章雄寻得两颗稀少的夜明珠，将它们分别送给妻子胡芝英和妹妹爱真，却被穆铎等人所见。穆垂涎明珠，设计将爱真骗走，带其到一岛上的密室中，逼其交出珠子。很快，章雄夫妇发现穆劫走爱真，跟踪穆来到岛上，奋力救出了爱真。然穆还是不死心，恳求恶徒杨长青帮忙，杨设计得到珍珠，被仰慕穆的女儿小婵偷走，送给了穆，但穆却弃小婵而去。小婵欲自尽，被芝英救起，杨为此醒悟。穆等人因分配不均而相互争斗，杨趁机夺回珠子，物归原主。
明朝某皇帝得知潘太师父子罪恶极大，便赴江南私访，恰好书生朱子谦途经杭州目睹潘太师之子抢劫民女沈美娘并杀死其母，愤而来到杭州府击鼓告状。知府刘迁己知皇帝赴江南私访，见朱出言犀利，误其为皇帝。朱借机下旨将潘子处死，惩治了贪官污吏，后来在百姓的掩护下，朱子谦和沈美娘一同远走他乡。
从懂事的时候开始是"丑女"的我。憧憬着小时候参加的婚礼，希望至少能演绎出谁的幸福瞬间，就职于婚礼策划师。各式各样的客人为了庆祝人生的开始而造访了酒店。这样的我，被能干的美型上司·久世课长求婚了！？“香澄，我一直在寻找。像你这样的……绝世丑八怪”“哈!?(怒)”