小镇双雄

影片描述了两位小镇青年宏升和磊子在传承和摇滚的两种音乐之路上的文化碰撞，在寻求音乐梦想之路过程中的经历和磨难后，以自创曲目《贺兰英雄》意外在网络爆红，故事的最终磊子和宏升回到了小镇一起演出了一曲《东方红》.....

喵不可言

一只猫变成人后他们初次见面就在床上，认识的人还误以为一夜情关系，只不过纯粹主仆。主人无奈地照顾他的起居饮食，猫儿总是唱反调让主人气得哭笑不得

寄信人、是谁？

本作は、ある高校の国語教師が、クラス全員参加の「手紙ゲーム」を提案することから始まる学園ヒューマンミステリー。これは1人1通、クラスの誰かに匿名で本音を書いた手紙を出すもので、手紙には愛の告白や暴露話など衝撃的な内容が書かれていた。ゲームは予想外の盛り上がりを見せ、生徒たちはクラスメイトたちの表と裏の顔を知り、喧嘩や助け合いを繰り返しながら友情を育んでいく。

去他*的世界第二季

　　阿莉莎（杰西卡·巴登饰，《龙虾》）仍在应对第一季中各种事件带来的影响。第二季中添加了新人物邦妮，由荣获英国独立电影奖 (BIFA) 的娜奥米·阿基（《麦克白夫人》和即将上映的《星球大战 9：天行者崛起》）饰演。邦妮是一个有着复杂过往的局外人，并与阿莉莎有着神秘的联系。                                                                            　　英国编剧查理·科维尔回归，为《这个破世界的末日》续写精彩。本剧改编自查尔斯·福斯曼荣获奖项的同名漫画书系列。原创歌曲和配乐将再次由格拉翰姆·考可森操刀。英国导演露西·福布斯（《In My Skin》）和德斯蒂尼·埃卡拉戛（《得寸进尺》）分别执导了第一部分和第二部分。                                                                            　　该剧集由 Clerkenwell Films 和 Dominic Buchanan Productions 制作。由默里·弗格森、埃德·麦克唐纳、安迪·贝克、多米尼克·布坎南、乔纳森·恩特威斯尔和查理·科维尔担任监制，珍妮...

玉米地的小孩：大逃亡

年轻的孕妇露丝逃脱了凶残的儿童邪教。在接下来的十年里，她匿名生活，试图使儿子免遭她小时候所经历的恐怖，但有邪恶跟着她，现在，她必须面对邪恶，或者失去孩子……

蚀之春风桃李

转校生话剧明星胡抱素引起女生们狂热追求。官二代朱近如利用胆小的陆梅丽接近胡抱素，岂料陆梅丽却与胡抱素戏假情真。童话故事终将落幕，胡抱素为实现自己的野心决定与朱近如成婚。陆梅丽心死远走他乡…

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.

不虚此行

人这一生怎样才算不虚此行？闻善（胡歌 饰）在平衡自己与世界的关系中寻找着答案。他是一个“掉队”的普通编剧，一次偶然的机会让他改以撰写悼词为生。在与各色普通人的相遇里，闻善慰藉他人、也获得了温暖，最终找到了自己的人生方向。

老爷车 Gran Torino[电影解说]

曾参加过朝鲜战争的福特车厂退休老工人沃尔特•科瓦尔斯基（克林特•伊斯特伍德 Clint Eastwood 饰）在妻子去世后独自居住在密歇根州小城的低收入亚洲移民区。邻居是个苗族大家庭，其中一对兄妹引起了沃尔特的注意。姐姐苏（安蕾•荷 Ahney Her 饰）幽默善谈，逐步与固执又有点种族主义的老沃尔特成为了朋友；沉默寡言的弟弟涛（比•王 Bee Vang 饰）则被自己的远房表兄强迫加入当地的苗族黑帮，第一次行动就被指派去偷沃尔特视为珍宝的1972年福特老爷车。偷车不成，涛被家人强迫，给沃尔特打工赎罪，却没曾想与沃尔特建立了深厚的友谊。而当地的苗族帮派却不肯就此罢手，为了苏与涛的安全和社区的安宁，老战士沃尔特该如何行动呢？ 本片获金球奖最佳原创歌曲提名（《老爷车》）。

末日浩劫

时为2013年，世界各地突然被死神的阴影所笼罩。凡是身处开放空间的人类，无一例外将丧失宝贵生命。外表俊朗的马克（奎姆·古铁雷兹 Quim Gutiérrez 饰）是一条生活在巴塞罗那的苦闷程序狗，上司埃里克（José Coronado 饰）不近人情的苛刻要求压得他早已喘不过气来，而与美丽女友朱莉娅（玛塔·埃图 娜 Marta Etura 饰）的关系似乎也进入了瓶颈期。灾难降临后，马克和其他人被困在某栋建筑物内长达三个月。担心女友的安全，他决定铤而走险离开这个绝地。马克与持有GPS的埃里克携手，穿越重重危险向外行进。

逐梦曼哈顿第一季

由《搶救雷恩大兵》男星愛德華伯恩斯自編自導，設定於 1980 年代，描述一群剛畢業的大學生在曼哈頓追夢之際，仍然不忘自己來自長島故鄉，懷抱著自工薪階級家庭成長所堅持的信念。

秘密与谎言第二季

ABC正式宣布续订《秘密与谎言》第二季。