白色相簿第二季

时值2007年的秋天，北原春希（水岛大宙配音）是一位就读于峰城大学附属学园的平凡高中三年级学生，为了替自己的高中生活划下完美的句号，春希加入了轻音乐同好社团。可是，惨淡的经营让这个本就默默无闻的社团几近崩溃，春希的美好愿望眼看着就要破灭。一次偶然中，正在独自弹奏吉他的春希突然听到一段美妙的歌声，追寻着这声音，一个名叫小木曽雪菜（米泽円配音）的女生出现在了春希的面前。雪菜是学校里的偶像人物，之后，雪菜经由春希的邀请加入了轻音部。紧接着加入的是能够弹奏一手好钢琴的女生冬马和纱（生天目仁美配音），和纱的叛逆和不羁人尽皆知，可即便如此，春希还是热忱地邀请了和纱“入伙”。

石膏男孩

从美大毕业的社会新鲜人“石本美希”，为了逃离美术和相处多年的石膏像，决定以毫不相关的行业为就职对象，因此来到位於东京上野的艺能事务所“HOLBEIN”中工作。正当美希庆幸自己刚到职就被推荐成为新人偶像团体的经纪人时，她却没想到自己面对的竟然是由战神“马尔斯”、文青“麦地奇”、美男“荷米斯”及圣人“圣乔治”4人（!?）所组成的潮男团体“石膏男孩”，且他们正如团名所示，正好就是美希所厌恶的石膏像……

鳕鱼角 第一季

　　背景设置在美国麻萨诸塞州鳕鱼角，女主角Jackie Quinones（Monica Raymund饰）是名美国国家海洋渔业局官员，她在当地沙滩上发现了一具尸体，后来尸体被证实是因鸦片类药物而受害，Jackie因而开始着迷于解决此谋杀案。

碟仙之毕业照

一群即将毕业的大学生，相约前往一个度假村游玩，作为自己的毕业旅行，当众人安顿下来准备好好放松时，却遭遇了一系列离奇的灵异事件。已经意外身亡的男主人公苏亮的初恋女友尹飘飘再度出现在大家的视野中，并对昔日的好友们展开血腥屠杀，众人惊慌逃脱时发现一个惊人秘密，可是死亡的脚步紧随其后，诅咒无法破解，濒临绝境的众人开始一场惊心动魄的逃杀之旅。

白考尔回忆鲍嘉1988

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.

男人四十一头家国语

杨仲德（郑少秋 饰）年逾四十，和妻子黄爱莲（陈秀雯 饰）结婚十七载，两人共同抚养着一双儿女，生活可谓是其乐融融。杨仲德为公司勤勤恳恳的工作了几十年，作为公司里的资深员工，此时本该放松一下，好好享受享受自己用早年的辛苦奋斗换来的悠闲时光，哪知道在这个节骨眼上，公司发生了巨大的人事变动，导致他地位不稳，时时都有遭到解雇的危险。　　职场里遭遇了滑铁卢，杨仲德的婚姻也亮起了红灯。因为杨仲德总是将大部分的经历花费在工作上，导致他忽略了黄爱莲的感受，一怒之下，黄爱莲提出了要和丈夫分居。之后，黄爱莲在保险公司找到了一份工作，业务能力出众的她很快就引起了上司的注意，后者对黄爱莲展开了热烈的追求。

阳光夏令营

参加夏令营活动的名额有限，班级里的同学为了争取到名额，都使出了浑身解数。学期结束，同学们都有了各自的成长。

老爷车大翻新第二季

欧联杯淘汰赛附加赛首回合 RB莱比锡VS皇家社会

21-22赛季欧联杯淘汰赛附加赛首回合 RB莱比锡VS皇家社会

友罪2018

生田斗真、瑛太主演前少年犯题材电影《友罪》，改编自药丸岳的同名小说，由濑濑敬久执导。 　　故事讲述了放弃记者梦想在小工厂工作的益田纯一(生田饰)，与同期进公司的铃木秀人(瑛太饰)慢慢建立起友谊。然而，在附近的一个镇子上又发生了一起儿童谋杀案。人们都说这起案子跟17年前的非常相似。那时，罪犯还是个14岁的小男孩。他现已经出狱，而且没人知道他身在何处。益田看见了一张罪犯17年前的照片，开始怀疑铃木是17年前连续儿童杀伤事件的犯人。

白发魔女2

自从武当派大弟子卓一航与邪教魔女练霓裳相恋后，受尽各派人士非议，迫使练血酒武当，与卓决裂后从此销声匿迹。如今魔女已走火入魔，并练得天下无敌奇功，四出杀戮正派人士，难为了卓呆守于雪峰顶，待奇花盛开之日再觅爱人芳踪。　　适逢武当后人封俊杰迎娶点苍派玉女虞琴之夜，魔女再现，杀宾客掳新娘，杰为救虞琴被魔女打至重伤，幸得女扮男装的昆仑派后人凌月儿营救，幸免于难。虞琴被掳至圆圆仙观，一所由吴三桂爱妾陈圆圆与魔女共同建立的仙观，对天下负心男儿报复的根据地。峨嵋派姥姥欲藉武林大会之机对抗魔女，率领各派攻入仙观，惟无功而退，甚至累得月儿为救杰性命垂危，为此，姥姥着俊杰往千雪峰找卓帮忙，时值奇花开放，卓携花下山找魔女欲与其破镜重圆，怎料练绝情地将其一臂斩断。卓认为一切事由他而起，故决定亲手解决，在爱恨交织下与练互相纠缠残杀……