自有人类以来，“污秽”就不断的现身骚扰着人世间的安稳和宁静，为了对抗污秽，一群名为“阴阳师”的人们勇敢的站了出来，加入到了战斗之中，用他们的智慧和勇气守护着人类。少年焰魔堂辘轳（花江夏树配音）立志要成为史上最强阴阳师，却因为一场悲剧的发生而意识到灾难的不可逆转，遂放弃了理想，沦为路人。某日，一位名叫化野红绪（潘惠美配音）的京都少女出现在了辘轳的身边，两人在误打误撞之中开始了同居生活。红绪铲除污秽的决心渐渐感化了辘轳，让他再度看到了希望，燃起了热血。与此同时，辘轳发现，红绪的哥哥石镜悠斗（村濑步配音）和当年令自己失去一切的灾难有着千丝万缕的关联。
1945年，二战的最后阶段，德国科学家Klausener发明了一个可怕的新技术，利用电磁技术，创造了一支不朽的纳粹军队，这个秘密流传至今。有迹象表明这个军队在东欧活动，为了查明真相，北约专案组匆匆部署到东欧，但所有的派遣队员几乎全被无情地杀死。这不是普通的敌人。 只有勇敢的调查员，海伦娜，一名调查战犯的女特工，为了查明线索而前往东欧，她盯上了臭名昭著的战争犯Klausener。在途中，遇到了北约的...
When reptilian aliens begin to take over the world, the remaining survivors' must band together and fight back with newly developed fighter jets.
世界的另一边，外景主持人叶子与摄制小组来到遥远的乌兹别克，拍摄电视旅游节目。叶子在镜头前开心地品尝当地风味美食、体验传统捕鱼乐趣，即使饭冷没熟、渔夫刁难，她依旧努力挤出甜美敬业的笑容，默默吞下所有委屈，只能在深夜与男友的电话中，低诉寂寞心情。眼看即将收工返家，原定拍摄场景却被取消，文化语言不通的两方陷入争执僵局，究竟该放弃拍摄还是另找题材？世界尽头的困境也让所有人陷入茫然失措中，无处可逃……。 本片为日本与乌兹别克建交二十五周年的纪念制作，也是导演黑泽清继《显影的女人》后，又一部完全在海外拍摄的跨国之作。找来前AKB48偶像前田敦子主演倍受煎熬的女主持人，以及染谷将太、加濑亮演出遭遇重重困难的制作团队，一贯凝冽冷调的心理剖析，将看似欢乐例行的旅游节目制作，转为对文化冲击、疏离人心的虚实辩证，道尽现代人难以言喻的异乡孤寂。
该剧讲述了刘牧饰演的抗战期间身为军统和中共地下党双料特工的赵运达与樊少皇饰演的土匪胡大山阴差阳错中上演的一段亦敌亦友、“双雄夺宝”、追踪国宝——北京人头盖骨的精彩故事。
《母亲》是一部以1976年以后二十年社会变化为背景，以一家五口相濡以沫血缘亲情为内容，以亘古不变撼人心魄的伟大母爱为情链的长篇电视连续剧。这是中国大陆第一部描写“血友病”患者及“血友病”家庭的电视连续剧。该剧以细腻的笔触精心制作，以饱蘸的情感和泪水涟涟的细节打动观众，从而创造家庭电视剧的收视高峰是该剧自始至终的创作目的。
The movie is based on the suspense short film nominated for the Golden Méliès to the Best European Fantastic Short Film, winner of more than 30 awards and screened by more than 200 film festivals. It was defined by the critics as "a cult short film".
本片历时8年拍摄制作，以平实的手法纪录梳理了浙江省诸暨市东白湖镇斯宅村的斯民小学的百年变迁史，同时是中国乡村教育史的缩影。并非单纯的校史记录，而是从各个时代的校友回忆，到现如今的教学和师生面貌展现，富有生活细节和纯真色彩，通过30年代起传唱的斯民小学儿歌来分段落，即便是从未知晓过斯民小学的人，也会有一个全面认知。与应试教育大行其道的城市小学相比，作为乡村小学，斯民小学确实如一股清流。
苏菲·奈丽丝([偷书贼])、欧文·马肯(《夜班医生》)、因迪拉·瓦玛(《权力的游戏》)加盟新片[靠近]，该片由维姬·朱森自编自导，劳米·拉佩斯主演。影片讲述拉佩斯饰演的女保镖兼反恐专家，被派去保护一位年轻的女继承人。而这位继承人和女保镖却互不喜欢。该片将在英国与摩洛哥取景拍摄。
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.
该剧讲述正在哀悼突然离世的父亲的死讯时，此前失踪的丈夫被人砍断的手突然出现，打破了平静，后续将接二连三地上演一系列连环杀人案，将聚焦“只要我一个人就好”“差不多就行”“只此一次”的这些想法所诞下的我们那些令人毛骨悚然的沉默时刻，讲述在一群为了自己生存下去而保持沉默的人之中，为了活出个人样而打破沉默的两个人的故事。
白赖仁（李子雄 饰）野心勃勃，一心想控制人类，差仁者领袖虎大介杀死了菊池博士，抢走了万能的“赤盒”，伹他却打不开。得知音乐家高比（黄子华 饰）能打开盒子，他遂派人将其生擒。与此同时，菊池的学生女忍者香也在追杀高比，而令一面，芭蕉先生派爱徒小灵（黄圣依 饰）则暗中保护高比。三路人马狭路相逢，展开龙争虎斗，最终小灵杀出重围。芭蕉夜入白府盗赤盒不成，反被虎大介取走性命，并连累村民惨遭屠杀，于心不忍的高比以自刎相威胁，总算中止了白赖仁的屠夫行径。高比以乐曲为钥匙打开了赤盒，白赖仁惊喜万分，以为掌握了控制人类的秘笈。但小灵、女忍者香能就此罢手吗......