舞林怪兽争霸战

在这部带来好心情的真人秀中，业余舞者运用电脑合成影像扮成虚拟人偶大秀舞技，竞夺25万美元奖金以及实现梦想的机会。

非法交易国语

劫案迷云

威尔·蒙哥马利（尼古拉斯·凯奇 Nicolas Cage 饰）的四人盗窃团伙在一次行窃银行金库时被埋伏在现场的FBI逮个正着，同伙文森特在混乱中中枪，而威尔将赃款付之一炬后独自被捕。八年后，威尔出狱，迎接他的是怀疑他当年私藏赃款的FBI探员安德森，以及女儿艾莉森（ 萨米·盖尔 Sami Gayle 饰）的敌视，威尔心力憔悴之际突然收到了文森特绑架艾莉森的消息。原来当年行窃失败后文森特陷入潦倒，为了讨还一千万中属于自己的部分他绑架了艾莉森。威尔试图向FBI求助却不被安德森信任，无奈只得独自拯救女儿，为此他不惜找到当年的搭档蕾莉(玛琳·阿克曼 Malin Akerman 饰)，准备再次犯案……

欲望商店

故事由一家神秘的杂货店串联起来，这看似普通的杂货店里所售卖的东西都是一些奇怪的杂货，店里有一个妖娆美艳的老板娘和一只慵懒而怪异的猫，没人知道她的年龄，传说她有永远20岁的容颜。三个不同身份的年轻人分别遇到了人生中的困惑和麻烦走投无路时，而分别走进了这家杂货店，得到老板娘的帮助拥有了神奇的能力，从而改变了命运，但在突然借助外力改变命运的同时却发生了一连串让人啼笑皆非的故事……… 影片分为三个部分线索分别叙述，在结构和情节安排上紧凑场景和人物比较多，节奏明快，主题阳光向上积极乐观

大河向东流之沁源故事

影片主要讲述了村党支部书记郭大河多年来一直坚守奋战在脱贫一线，女儿郭小河大学毕业后带着先进思想、先进理念毅然回到农村，父女二人在脱贫攻坚道路上并肩作战、勇往直前的故事。

授权

地狱：亡灵栖所

五位员工前往塞班为公司寻找度假村地点，在岛上探索的过程中他们无意间发现一处日本二战时期的地堡。然而好奇害死猫，进入地堡后诡异恐怖的事情却接连不断地发生..

窃子疑云第一季

《窃子疑云》是ANTENA3电视台根据同名小说改编的电视剧，由西班牙著名影星RodolfoSancho主演。RodolfoSancho饰演的Juan厌倦了马德里的生活，准备和好友一起去挪威工作。最后一次拜访患有精神病的妈妈时，他决定帮助妈妈了却一桩心事。他的双胞胎弟弟在出生时就死了，但是他的妈妈一直坚信他弟弟还活着。于是他申请开棺检查弟弟的DNA，了结妈妈的臆想。然而惊人的事情发生了...

我们年轻，我们强大

东西两德合并后，东部瞬间没落。失去工作的青年也失去了生活的目标。随着外籍移民的不断涌入，矛盾日益扩大，仇恨在蔓延。九十年代初期，多个城市爆发了新纳粹主导的排外骚乱活动。本片的背景正是那个时候的罗斯托克。　　这部近期的德语高分影片获今年的德国电影奖多项提名，并获得最佳男配角奖。

欧洲的某个地方

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.

结婚狂想曲

该片讲述了一对恋爱七年的年轻恋人，在准备结婚的前几天，一场无名火烧碎两人的梦，两人决定以举办一场网络婚礼视频直播洞房花烛夜为由头，以吸引各类厂商赞助而搏得“贪财”的岳母支持，至此，一场啼笑皆非地婚礼轰轰烈烈地展开。

我的存在

年轻的科妮莉亚来到老父亲的家里寻找一些东西。当她试图完成自己的使命时，她总是被意想不到的情况打断：一个神秘的女孩，一个小偷和一个情人。