2022年，天才编程者茅场晶彦所开发的世界最早的完全潜行专用装备设备《NERvGear》。这个革命性的机器给VR（假想现实）世界带来了无限的可能性。那之后经过了4年。。。。。《NERvGear》的后继品VR机为了对抗《AmuSphere》（第二代民用完全潜行机），发售了一个次世代的可穿戴设备《Augma》替换了完全潜行机能，是一个对AR（增强现实）功能进行了最大限度扩大的最先进机种。由于《Augma》在觉醒状态下也可以安全和便利地使用，因此一瞬间便在玩家当中传开了。这个杀手级内容，被叫做《OrdinalScale序列之争（OS）》，是《Augma》专用的ARMMORPG。亚斯娜和伙伴们会玩的这个游戏，桐人也准备参战了。。。。
在我们普通的青春里，最疯狂的高光时刻会是什么？张伟（辛云来 饰）是一个长相普通、成绩中游的高二学生，是老师和妈妈眼中的「差生」。面对多方打压，他也渐渐对自己失去了信心，直到意外被任命为学校组建的男子花样游泳队队长，他一点点被改变……从来没有被人相信过的他面对队友高飞（李孝谦 饰）、陈铭涵（冯祥琨 饰）、蛐蛐（王川 饰）、王子（吴俊霆 饰）的信任，第一次有了想要赢一次的想法。为了心中重燃的热血，少年们决定一起迎接这场“男子花样游泳”的青春反击战……
李可乐（喻恩泰 饰）和四个大学里不靠谱死党成立了“灯火寻人”公司，但业绩惨淡。他借房东刘熊猫（高亚麟 饰）的奔驰撑场面去接空姐女友青青（王澜霏 饰），却因没买到女友想要的限量名牌包而被甩。当他终于换回自己的奔奔时，却追尾了女警康红（谭卓 饰）的警车而闹出误会。 李可乐当从报纸上得知将不久于人世的亿万富翁、前国军少校、现马来亚船王庄亦归先生（林栋甫 饰）要重金寻找失散多年的孙子时，李可乐带领公司员工加入“寻亲”大军，历经艰辛、笑话百出，当他终于以为接近目标找到了那个“庄孙子”时，却发现自己陷入到一个巨大的骗局中。迫于无奈他只好继续行骗。虽然骗局成功了，但对金钱的渴望让他盲目，对金钱的渴望让青青投入到“假孙子”的怀抱。 骗局最终败露，一直盯着他的女警察康红亲自参与案件调查，在“秀才遇上兵”的追捕过程中，他和康红间矛盾不断成了欢喜冤家，最终，李可乐发现原来苦苦寻找的“装孙子”竟然是……
电影改编自同名人气漫画，讲述的是离家出走的青少年的成长故事。 离家出走的叛逆儿泽日（朴正民饰）与盲目踏入社会并满腔热血的尚弼（丁海寅饰），在遇见长风饭馆的厨师长猛男哥（马东锡饰）后，让自己明白了什么是世间愉快与开心的故事。
建党90周年推介影片-《吴运铎》
A fisherman contends with an ocean-borne outbreak that threatens his seaside island community.
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.
续弦的老伴去世后，老葛（许还山 饰）在非血缘关系的儿女家处境尴尬，而跟儿子（韩童生 饰）的关系也始终没有松动。无奈之下，老葛辗转来到关山老人院，寻找当年同在一个单位的好友老周（吴天明 饰）。老周热情开朗，平日里组织这里的老人们参加各种各样的文体活动。为了实现各自人生最后的价值，这群老伙伴们毅然决定排练节目去天津参加比赛。可是，衰老与疾病让院长（颜丙燕 饰）无法下定决心开绿灯，而意外的事故更促使她对老周他们的表演下了禁止令。 即便如此，老人们也从未放弃。他们决定偷偷跑出老人院，寻找生命中纯粹的快乐与意义……
A street smart party girl gets mixed up in a violent drug deal and finds a possible way out by masquerading as a Nun.
讲述了潮汕历史英雄人物——南拳宗师刘远跋，从一介年轻毛头，被猪油街高手传授技艺，他将此中各类掌法拳法融会贯通，形成自己独到的南拳“吞吐拳”，最终靠一身武艺取得了胜利的故事。