薄樱鬼御伽草子

　　「薄樱鬼～御伽草子～」是一部将人物进行适当变形的短篇动画，在原作的登场角色和设定基础上，围绕着“也许是似曾相识的日常”的主题，描绘全新的故事。

奇迹三雄之扑克游戏

该片为一部悬疑侦破片，故事取材于中国现代侦探史上的一个重要案例，以上世纪30年代初的上海为背景，讲述了发生在某个山庄里的一桩神秘莫测的命案从最初发生到最终水落石出的侦破全过程，其间峰回路转，悬念迭出，充满了智力和智慧的较量，具有很强的观赏价值。

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.

深爱

“在这座城市里拥有爱情，我配么？”这也许是每一个“漂一族”的自我怀疑。 　　一次交通意外，让王惜月（王智 饰）陷入了一场从未预想的“一见钟情”；同为职场精英的何娜（克拉拉 饰），一贯洒脱对待爱情的心态也面临着动摇。这个原本对她们来说只是生存战场的城市，突然变得更为复杂了……谎言之上的爱情岌岌可危，朋友名义下的快乐转瞬即逝，两段需要抉择的“深爱”，她们的答案，是否会和你一样？

三朵小红花

“六一”儿童节来到了，少先队校外辅导员陈爷爷，送给孙女——少先队中队长小英和少先队员小图、小雷每人一件节目礼物——新扫把，并邀他们一同去打扫少年宫，为大家做好事。小图的妈妈是书店售货员，常用金钱和物质刺激孩子努力学习，因而使小图养成了只为获得报酬而做事情的坏毛病。这天一早，小英就扛着扫把，边唱边跳地邀小雷、小图去少年宫。小图的表舅王得利，是一个没改造好的小摊贩，专靠卖旧货赚钱。他抓住小图的弱点企图…

南行

长官俊英（전신환 饰）和士兵基泰（김재흥 饰）在军队服役时曾是一对恋人。俊英提前退伍后开始尝试融入主流社会，并且交上了女友。他和基泰的通信也从炽热到平淡如水。基泰利用服役的最后一次假期出来寻找俊英，希望履行两人当年的誓言：一起结伴去南方。为了带俊英上路，他偷偷将安眠 药 下在饮料中。于是汽车载着脱队的逃兵和熟睡的爱人，在接天的莲叶、炎夏的蝉鸣和沿途更迭的新绿陪伴下静静向南开去......  凭借《不后悔》成为韩国独立电影焦点人物的李宋熙日说《南行》“主要在讲述同性恋和异性恋的分界。”他认为很多人在性取向上是机会主义的境遇型，但社会却“要求人们的欲望循规蹈矩的迎合预期，从而给很多人带来了认同的痛苦。”《南行》与《忽然之间，去年夏天》、《白夜》一同构成李宋熙日讲述酷儿爱之痛的“两天一夜”三部曲。

命之途

影片讲述了退隐江湖的杀手叶真因一次人物失手误杀了盲女简熙的父亲，他心中懊悔不已，为赎罪接近简熙并逐渐喜欢上这个单纯善良的女子，叶真决定重回江湖执行杀手任务筹钱为简熙治疗眼睛。但在接下来的任务中，叶真遭遇了暗算并被捕快狄贤追查。当狄贤了解了叶真行事的前因后果，对他和简熙产生了理解和同情。简熙阴差阳错知道了事情的真相，但却被暗杀目标武东元挟持用来引出叶真。叶真中计现身，并联合狄贤解救简熙。而经此一事，叶真和简熙又该何去何从？两人的命运又会走向什么结局？

四小女英雄第一季

Netflix开发第一部非洲原创动画剧集《MamaK’sTeam4》，由马伦加·穆伦德马(MalengaMulendema)创作，喀麦隆艺术家马尔科姆·沃普(MalcolmWope)设计。讲述了四个十几岁的女孩生活在新未来派的非洲城市卢萨卡，她们被一个退休的秘密特工招募，而这个特工仍然致力于拯救世界。

突然成仙了怎么办

太空炮弹

在很久以前的遥远星系中，“炮弹一族”因其领袖的愚蠢，耗尽了自己星球的大气，于是计划夺取邻近的朱迪亚星球的纯净空气。在朱迪亚星球维斯帕公主（达芙妮•祖尼加 Daphne Zuniga 饰）婚礼前夕，炮弹...

师恩难报

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