内详
屡破奇案的重案组高级督察方正（许志安）眼里，庆功会上纷纷邀功的其他部门同事多是平庸之辈，多起案件能侦破全靠自己和手下兄弟阿泽（雷宇扬）等人拼命，因此他的言行多少有些独断高傲。某次缉匪行动中，他等不及飞虎队自行下达命令，两名同事毙命街头，他自己也中枪昏迷，在医院一躺两年。 醒来母亲已过世、女友已成他人妻，身边世界已大不同，但方正也意外收获在他昏迷时
一个男孩要开始学着面对父亲缺席的人生。
女孩为了虚荣心 却不敢与骑三轮的父亲相认 看到父亲的血汗才醒悟#爸爸的三轮车
农民工李振业为了圆自己没有实现的大学梦，一家三口来到城市里好几年了，他把希望全都寄托在自己的女儿倩倩身上。倩倩在市里一所重点中学就读，这是一个贵族学校有不少干部、大款子弟。学校费用很高，李振业起早贪黑地靠一辆人力三轮车为一家三口的生活奔波劳碌。他每天清早用三轮送女儿去学校，他不放弃任何一个挣钱的机会，哪怕是拣一个学校门口被丢弃的饮料瓶。倩倩对爸爸的行为皱着眉头，生怕同学知道那个蹬三轮拣瓶子的人就是自己的爸爸。她在同学面前说自己的父亲是个经理，而这个送她的人是她家的一个亲戚。李振业对女儿充满关爱对女儿的想法一无所知。李振业拉活儿不计较报酬多少，只要有活儿，能挣多少是多少。有时遇到刁蛮的顾客他也忍耐到底。倩倩班里转来一位同学叫林杰，父亲是一个企业家，家庭条件优越。很快他们就成了好朋友。一天，老师给大家留了一份特殊作业：为了培养同学们的表达能力，班上要举行一次演讲比赛，主题是《讲一讲生我养我的父母》。倩倩陷入了沉思，她不知道该怎么完成。倩倩不想让同学知道自己的爸爸是三轮工，于是开始拒绝父亲每天接送。倩倩的同学干部子弟芳芳鼓动她也买一个mp4，并说这是身份的象征。倩倩为了满足虚荣心，回家向父母提出要买mp4。李振业为了女儿更好地学习，没日没夜地辛苦干活。林杰约倩倩芳芳和一男生周末去钓鱼，倩倩欣然同意。为让女儿玩好，老李把自己身上仅有的三十元钱都给了女儿。但一次偶然的机会，李振业得知女儿不愿承认自己是她的父亲，十分难过。就在此时他又发现自己的三轮车不见了，这一天中发生的事让他承受不住，忍不住爆发了出来。看着爸爸失落的样子，倩倩的脸像火烧一样。第二天倩倩给父母留下一封信，信中说承认了自己的虚荣，她要出去打工挣钱，然后再考大学，实现父母的愿望。她离家出走了。李振业到处寻找女儿。倩倩来找林杰借钱，林杰告诉她自己的爸爸也是农民，也是一个什么都干过的农民工，在林的劝说倩倩决定回家。教室里，在同学热烈的掌声中倩倩走上讲台。她演讲的题目是《爸爸的三轮车》。第二年，倩倩考上了一所理想的大学，学费的一半是爸爸蹬三轮挣来的，另一半是银行的助学贷款。一张含泪的脸悲情地唱着：爸爸的三轮转啊转，白转到黑早转到晚，转的是爸爸的血汗，转的是爸爸的辛酸，转的是爸爸的期盼……歌声中闪过一张张同学凝神的眼、伤情的脸。
一场意外中，朱俐（陈燃饰）不幸受伤，而意外的始作俑者，是一位名叫江仁俊（朴施厚饰）的韩国男子，江仁俊千里迢迢远赴异国，为的是寻找出走的女友敏贞（沈智瑗饰）。为了补偿朱俐的损失，江仁俊住进了朱俐的家中照顾她的生活起居，而在此过程中，朱俐和交往多年的男友孙泉（安琥饰）之间产生了矛盾，感情濒临破灭。刚开始，朱俐对于江仁俊这名“不速之客”很不客气，然而，随着时间的推移，两人在打打闹闹之间渐渐产生了感情，然而，他们都并非“自由之身”，只能拼命压抑。朱俐曾经接收过一份由鸽子送来的神秘信件，让她感到震惊的是，这封信竟然和江仁俊有着千丝万缕的关联。
马赛的旧渔港区马尔穆斯克，聚集了许多新住民和来自世界各地到此戏水的游客。薇吉妮（Virginie）在街上寻找她的猫，而艾莉娜（Elina）确信自己丈夫在她的手机上安装了间谍软体。这两个朋友决定划着皮艇，去一个不会被窃听的区域交谈。
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.
完整版本，一个来自破碎家庭的受到情感困扰和社会孤立的女孩，她发现自己生命的意义就是进行激烈的运动竞赛。不幸的是，Marie得了重病，身体彻底崩溃，因此她被迫休息了很长一段时间。不过幸好有她的男朋友Bobby陪在身边，他不仅能给人安全感，并为Marie提供了一个可靠的情感寄托，流露出了对生活的乐观和热情
马丁·哈里斯博士（连姆·尼森 Liam Neeson 饰）到柏林参加学术交流，却不幸遭遇了一场车祸，昏迷中醒来的他发现自己整个人生都被偷走了，妻子伊丽莎白（詹纽瑞·琼斯 January Jones 饰）不再认识他，而另一个人（艾丹·奎因 Aidan Quinn 饰） 取代了他的身份，成了哈里斯博士，光明正大出现在学术会议里，似乎所有人都认为那才是真正的哈里斯博士，令马丁十分迷惑。没有人相信马丁的说辞，柏林当地警署对他的申诉置若罔闻，又似乎有人开始追杀他。异国他乡，举目无亲，身陷险境，是人们的记忆被偷走了？还是自己脑袋出了问题？又或者背后有惊天阴谋？马丁走投无路之时，一个神秘女人吉娜（戴安·克鲁格 Diane Kruger 饰）出现了，似乎能帮他找到事情的真相……
3月20日 21-22赛季德甲第27轮 拜仁慕尼黑VS柏林联合
在遥远的未来，一个说不定是被称作为地球也不一定的惑星，有一群全身机械化的武士们在那儿长期的战斗。当大地化为焦土，战争终告终结。人们再次耕种稻田，生产出不至于让生活有困难的数量的米。位于被群山环绕受到湿润气候恩惠的“钪纳村”也正在从战争的伤害中重新站起来，受惠于盛产的稻米。但是村里的人们却不能因为米量的丰渥而快乐起来。因为每年都会有黑色威胁“山贼”——过去再战场上风光一时的机械化武士们，数之不尽的席卷而来。战争终结之后的他们早已失去了生活的目的，转而成群结队的去蹂躏村庄抢夺稻米与女人。 抵抗即死--只知道耕作的农民们对于收获期的们的袭击除了无可奈何的接受之外，并没有其它生存下去的方式。对于在收获期之前前来视察稻米状况的山贼，康娜村的长老伪作倡导彻底抗战到底，不过村民们发出了反对的意见。但是伪作早就已经有击退山贼的妙计了，能够对付山贼的只有武士。 就这样...