平凡的麻辣串小贩章晓，在一次意外中被慕家小千金慕娅认作妈妈，一时心软与商业精英慕宸签下保姆协议，由此开始了一段萌动有趣的“带娃生活”，也让失去了母亲的慕娅感受到了母爱的温暖。而原本一心事业的慕宸也在相处中渐渐被章晓的正直善良打动，不仅开始学习如何当一名好父亲，还与章晓发展了一段美妙的爱情，最终两人克服种种困难，成为幸福的三口之家。
“六一”儿童节这天，孩子们为了庆祝自己的节日，组织了一个丰富多彩的联欢会，他们邀请了工人、农民、解放军战士和各方面的叔叔、阿姨们来参加他们的活动。方小华一早就动身到郊区公社去了。他是去接模范饲养员老爷爷的，因为饲养员老爷爷不但是养猪模范，而且是位歌唱能手。但是，在联欢会即将开幕时，小华还没有回来，而他又是第一个节目大合唱的领唱。这件意外的事，把演出的预定计划全部打乱了。憨厚的小后台主任急得有点手忙脚乱，但机智的小舞台监督却决定重新安排节目顺序。孩子们的每一个节目都非常精彩，博得了观众们的热烈掌声。但在后台，出于情况的变化，小舞台主任和小舞台监督之间却发生了许多有趣的纠葛。当小华快要到达的消息传来时，节目已将演完。小舞台监督又急中生智，拉着尴尬的小后台主任上台垫演了一个风趣的小节目，保证了联欢会的顺利进行。小华从来都是非常守时的，到底出了什么事呢?老爷爷立刻上台把这件事编唱了出来。原来在途中，他们碰上了一辆载重马车倒在铁道上，这时火车即将通过，情况非常紧张。小华不顾一切，勇敢地翻过重重障碍，游过湍急的河流，抄近道迎上了火车，在万分紧急中，他挡在铁道中间，机警地挥舞着红领巾，截住了迎面而来的火车，避免了可能发生的事故。老爷爷的歌声感动了全场观众，大家一起为小华的英勇行为热烈鼓掌。大合唱终于揭幕了，小华站在队中精神格外焕发，他用响亮的歌声领唱着主题歌《花儿朵朵向太阳》，歌声唱出了新中国少年儿童茁壮成长的欢悦心情，唱出了他们准备将来建设伟大祖国的远大理想。
“这可是总体战。没有人能帮我们，欧洲大陆已经沦陷，我们孤身对抗猛兽。”“有史以来最美的机器”和她英雄的飞行员们赢得不列颠之战的故事。传奇的秀泼马林引擎轰鸣声中一场不可思议的历史之旅。
这群疏远已久的超能力兄弟姐妹因父亲过世而团聚，并发现了惊人的家族秘密和迫近人类的潜在威胁。
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.
出品单位: 北京中视双豪影视文化有限公司 30年前，烟岭村一对相恋的男女，偷生了一对孪生兄弟。由于家族的强烈反对，他们不得不各自带着一个孩子黑夜在追赶声中逃离；30年后相见的孪生兄弟，一个成了企业的老总，一个还是乡土不离的农民……
在家里挣不到钱的阿苏为了母亲托关系到了香港，初到香港的他被香港的繁华所吸引，他在一家餐馆里打工，时间久了老板也很信任他，可是不知不觉中老板娘暗暗喜欢了阿苏
冯梦龙，苏州人，明代著名文学家、思想家、戏曲家，他的作品有近3000多万字，尤以《喻世明言》、《警世通言》、《醒世恒言》等著述创造了中国通俗文学的新高度。除了艺术方面的造诣，冯梦龙也以其在福建寿宁为官一任造福一方的事迹，为后世称颂。电影《冯梦龙传奇》便是首次将冯梦龙生平事迹搬上大银幕，讲述了冯梦龙从苏州至寿宁、由为文而从政的传奇经历，以其在寿宁的为官经历为主要表现内容，围绕抗倭寇、灭虎患、禁溺女婴、倡导文教等事迹，表现其爱民、务实、清廉的形象。值此中国共产党成立九十六周年之际，影片以冯梦龙丰硕的文化创造、高洁的人生操守、勤廉的为政理念、坚贞的爱国情操及务实爱民的政治作为向党的生日献礼。
一位手执名剑“长光”的年轻剑客（谢霆锋饰）只为完成师父生前的遗愿——找到古代中原留下的九大旷世名剑，从北方蓬莱来到中原。而此前早已归顺朝廷的山东武林盟主、青萍剑客白三空（计春华饰）利用与年轻剑客的比武诈死，成为朝廷埋藏在武林中的黑手。白三空的外孙方宝玉（乔振宇饰）从小被外公禁止接触武功，然而为了替外公报仇，为了武林的正义，跟随“天下第一剑”紫衣候（谭耀文饰）学武，誓要杀死蓬莱剑客。生命攸关的时刻，蓬莱剑客结识了黄河狂侠王巅之女珠儿（钟欣潼饰），并且渐生情愫，方宝玉与紫衣候养女奔月（杨蕊饰）两人也爱得难舍难分。青木堡少堡主木郎神君（赵鸿飞饰）的朝廷锦衣卫身份终于暴露，朝廷意欲借武林中人控制武林，寻找罗雅古城宝藏的目的彻底呈现出来。 一场武林浩劫正在上演，每一个人的立场都真相大白。在纷争中发现对方竟是同母异父亲兄亲的蓬莱剑客和宝玉决定联手对付木郎神君，然而木郎神君已经炼成了混元神功，就在那千钧一发时刻，木郎神君死在了心爱的女人——脱尘郡主（伊能静饰）的剑下，纷争也随之结束……
在枪与钢铁的世界“Gun Gale Online”享受着单人游戏的女性玩家·莲。喜欢可爱事物的她，全身清一色的粉红色装备，不断累积游戏经验，并逐渐增强实力。之后，由于某件事而对于PK（玩家狩猎）觉醒了兴趣的莲沉迷于PK中，并终于到达被人称作“粉红恶魔”的地步。 这样的莲，与神秘的美女玩家·Pitohui相遇，并和她意气相投。莲按照她所说的，参加了小队作战活动“特攻强袭”。