23_24赛季英超第11轮 纽卡斯尔联vs阿森纳

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2023斯诺克英格兰公开赛半决赛希金斯VS特鲁姆普

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LIFE2 给予者接受者

　　本作は娘を殺された刑事・倉澤樹と猟奇的殺人犯・貴志ルオトが繰り広げる死闘を描くクライムサスペンス。倉澤は元小学校教諭の刑事で、かわいがっていた教え子・ルオトに娘を惨殺された過去を持つ。被害者遺族として絶望を味わい、その経験から生まれた“自分と同じように苦しむ人を1人でも多く救いたい”という思いから刑事へ転身した倉澤。12年後の娘の命日を目前に、彼女はルオトが医療少年院を退院することを知る。そしてルオトが「完全に更生した」という話を聞くも疑心を抱かずにはいられない彼女のもとへ「あなたの大切なものを、もういちど奪います」というメッセージが届く。

食梦者

擅长画画的高中生真城最高（佐藤健 饰）有一天被头脑灵光的同学高木秋人（神木隆之介 饰）缠上。对方自称超级喜欢漫画，可却没有绘画才能，秋人希望和最高搭档进军漫画界。最高的叔叔川口太郎（宫藤官九郎 饰）曾是小有名气的漫画家，但因过劳和连载被砍最终英年早逝，这让青年深知这一行的残酷性。经不住秋人的怂恿，最高终于就范。两人选择自荐的方式将目标锁定在集英社旗下的殿堂级周刊《JUMP》上，并初步得到了编辑服部哲（山田孝之 饰）的认可。与此同时，天才高中生新妻英二（染谷将太 饰）横空出世，促使两个人不顾一切地要与之

伊卡卢伊特

　　Carmen穿越极地前往丈夫所在的伊卡卢伊特，她的丈夫Gilles是一名重伤的建筑工人。为了搞清事情的真相，她认识了Gilles的因努克人朋友Noah，他们发现彼此有着千丝万缕的联系。两人随即出发去弗罗比舍湾，她想去寻找答案，而他想让儿子无罪释放。

剪刀手美少女

影片主要讲述吉安撞见追求自己的萧仁带着别的女孩回家，心情低落。与此同时，她遇见了三年前消失的初恋男友路宇，心绪难平。面对路宇的病，吉安执意给路宇做手术，路宇手术后再次逃跑，吉安决心追查到底。在朋友的帮助下，吉安发现路宇虽仍然深爱自己，但总是躲避，她毫无头绪。真相总会浮出水面，某日，吉安的好友雨轩无意中发现路宇一直不肯面对吉安的真相……

牢里的人

聚焦一个美国的死囚犯、一个安静的英国小镇上的牧师，以及一位被困在地窖中的数学老师，他们以最出乎意料的方式越过小径。图齐将饰演剧名所指代的中心人物，莫法特对该剧剧情高度保密，甚至故事的最终走向只有其本人知道。

冼夫人之浩气英风

剧讲述了“岭南圣母”冼夫人廉洁齐家、惩治腐败的廉政故事，再现了冼夫人以言传身教影响后人，实行严正家教，培养朴厚家风。该片导演穆龙介绍，冼夫人极为注重家风、家教，对家人的要求相当严格，其故事至今仍在广东、海南等地广为传颂。

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.

私人课程

15-year old schoolboy Denis and the nun Clotilde fall in love with each other. During the war the two of them take shelter at an abandoned farm and live happily together until the locals start to become suspicious.

抗日冲锋队之截杀行动

日本关东军为破坏我满洲地下党组织，专程派遣特务部高级特务中岛敬二潜入哈尔滨。按照省委特委指示，李朝阳带领冲锋队早早部署在哈尔滨车站，做好截杀中岛敬二的一切准备......

拳道（国语版）

因為家貧，還要照顧雙眼接近失明的爸爸，十二歲的阿牛(陳國坤 飾)為了賺錢 在街上賣螢光棒，卻被一班惡霸拖到後巷拳打腳踢。 原來牛爸 (林嘉華 飾)當年為救好友興叔而被壞人弄傷雙眼，他失明後不想負累 一眾兄弟，所以便發放死訊，人間蒸發。興叔因不可以報答牛爸的救命之恩而 耿耿於懷多年年，現在陰差陽錯兄弟重逢，身為拳館師傅的興叔答應一定會把 阿牛教好，讓他成材。阿牛後來便正式拜師，視興叔如再生父親。 這個時候的阿牛亦悟出一個道理，就是拳術不用不活，加上他的性格抱打不平 ，故此每逢遇到有人受到欺凌，他都會出手幫助，把壞人當作活靶來來操練， 大快人心之餘，拳腳功夫亦趨更快、更狠、更準。 興叔年年事漸高，拳館的聲望大不如前，拳館收入不足以維持拳館。阿牛唯有 偷偷參加打黑拳，但是所有賽事加起來來的出場費和獎金都不足以維持拳館， 所以阿牛和小豬 (敖嘉年 飾)便決定...