雨女 第四季

阿斯特丽德和拉斐尔又回来啦。新一季，新气象，两位主角都遭遇了很大的变化。而这次她们要先携手侦破一桩谋杀及盗窃案。为什么酒店安保系统突然失控？谁是幕后黑手？这背后还隐藏着什么秘密？

2023年05月30日 足协杯第二轮 云南玉昆vs广西平果哈嘹

咕咕是一只猫

时隔两年，《咕咕猫》又回来了！除了主演宫泽理惠，更将集结长塚圭史、黑木华、田中泯等豪华阵容。另外，前田敦子将出演助手角色，尾形一成将出演刑警，西田尚美将出演新加入的角色——个性鲜明的麻子的同班同学。这次的续篇中，将继续讲述上一部未能讲完的，和咕咕在一起度过的15年零8个月中发生的故事。（唯央@追新番原创翻译 转载请注明出处）

侠影神剑

天龙帮因怀疑本帮将被袭击，派出大量兵马于夜间在庄外守护。大侠尹飘扬当夜躲过搜索逃回...侠影飞神剑，载酒江湖除凶魔。

神勇双响炮

吴亚秋（吴耀汉 饰）和贝多芬（岑建勋 饰）是香港警署反黑组一对活宝警员，这对师兄弟吊儿郎当，不务正业，入行十多年还是初级警员。好在他们生性乐观，加上陈sir（陈欣建 饰）对二人多有照顾，因此他们倒也十分享受这样的逍遥生活。所谓傻人有傻福，亚秋阴差阳错还得到陈sir的女秘书安娜﹝叶德娴 饰﹞的垂青。　　他们受命调查从事不法勾当而暴富的商人夏正毅（陈龙 饰），只是对方分外狡猾，不露出任何马脚。夏的情妇掌握他各种犯罪勾当的账本，并以此作要挟。夏命手下杀害情妇，而亚秋和贝多芬则成为了尸体的最先发现者。夏正毅为了得到账本，于是向情妇的表妹伸出毒手，亚秋和贝多芬能否将罪犯绳之于法？

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.

错误教育

“超杀女”科洛·莫瑞兹携手萨莎·莱恩参演《卡梅伦的错误教育》(The Miseducation of Cameron Post，暂译)，戴思睿·阿卡万自编自导。影片根据艾米丽·丹弗斯的同名小说改编，讲述同性恋少女卡梅伦(莫瑞兹饰)的成长历程。青春本疼痛，而挫折历练却让卡梅伦不断成长。

性盗鼠小僧

水呑农民家出生的次郎吉，江户性盗鼠小僧的吴服店学徒工出来的。薮进入的一天，隔了好久回到故乡的他荒芜的无人我家目睹了。并且，妹妹的花蜜（小川节子）被转让，武士中知道了。打垮了他江户回来，在和服店老板娘和它的女儿，以及总管学徒剥削，歧视的话闲毁掉了。那偷听了次郎吉是憎恶和愤怒颤动，他们用刀威胁，老板娘和女儿犯了。以来，次郎吉背上大蛇的刺青雕刻的du徒，成为武士，瞄准了私通强盗和生活性盗鼠小僧。并且，平时;绯樱的金助的年轻男人一起。金助原本旗本名字金四郎说，女佣和私奔了生活。那个女佣，什么沉了。;欲望的无政府主义者中曽根生导演的阶级斗争的时代剧！脚本《太阳偷男人》的导演闻名的長谷川彦执笔

关于遇见爱玛的这件事 第一季

27岁的丹麦男孩维图斯多年来一直过着一成不变的生活，尽管有慈爱的父亲和完美的女友，他仍然找不到生活的意义，只是顽固地以一种自我中心的姿态应付着周遭一切并拒绝成长。 在一次化装派对上，维图斯偶遇见迷人的挪威女孩爱玛。爱玛的个性和木讷笨拙的维图斯截然不同，她乐观、热情、充满冒险精神、追随自己的冲动。两人怀着各自的秘密开始相处，度过了一段快乐的时光。维图斯开始思考人生，并以实际行动去理解爱、生命与责任。

国足看少年

　　少年郑毅在爸爸的影响下从小热爱足球，内心深藏着一个足球梦，然而追梦的路上有许多的阻力，坚持不懈的郑毅在好友向楠和球迷大叔老巴的帮助下，一路冲锋陷阵，排除万难，最终以顽强拼搏的斗志实现了自己的梦想，顺利地加入国足青训梯队。 　　

能源钱景

由一宗命案牵扯出的金融大案，表面风光的能源公司——绿能公司，是否真的在能源领域有着核心科技呢？还是说，这一切只是为了圈钱编造的谎言？看金融警察麦子和他的搭档阿尔夫如何智斗公司总裁，将金融犯罪分子绳之以法。

向日葵2005

本片延续了张扬在《洗澡》、《昨天》等影片中所呈现的中国式父子冲突与和解，以1976、1987和1999三年作横截面，勾勒出了北京一对普通父（孙海英）子（张凡、高歌、王海地）一路紧张但偶有温情的关系，母亲（陈冲）一直扮演中间调停人的角色。 　　爱好画画的父亲因历史原因没能成为艺术家，便强硬地给9岁的儿子定下“帮他成为画家”的人生目标，父子从此开始对抗；儿子长到叛逆的19岁时，一心想逃脱父亲的掌控，做过许多任性而为的事，但终败下阵来；30而立的儿子成为比父亲想象中还要优秀的艺术家，具备了与父亲对抗的资本，但他却心生对父亲的感激和愧疚，另一面，父亲也逐渐意识到，他多年来对儿子的教育方式存在问题。