one31 2023
整日奔波处理许多个案的社工师李淑芬（杨丞琳 饰），某天接获通报到一桩虐童案件，正盘查女童母亲林美华（高慧君 饰）时，突然接到女儿雅婷下午失踪于校园的消息，心急如焚的淑芬查看学校监视器后，竟发现雅婷跟着一名穿着红衣、身影诡异的小女孩离去，这个小女孩是谁？她们要去哪里？循着 线索，淑芬随着救难队在山区的废弃医院发现疑似雅婷的踪影，但找回的却是失踪已久的广播主持人沈怡君（许玮宁 饰）。无计可施的淑芬只好先将精神不稳定的怡君带回家，希望能从中问到女儿的下落，没想到带回家的可能不只是怡君…
年轻女子伊丽莎白·本顿（梅勒妮·帕帕拉 Melanie Papalia 饰）正就网络聊天软件the DEN申请课题和资金展开人类行为学研究，她尝试和世界各地的网友聊天，希望能调查他们的上网习惯和兴趣。虚拟的网络让人们有了释放自我和欲望的空间，而摄像头又满足了他们宣泄与窥视的欲望。浏览网络，世界各地的人们尽情展示着他们诙谐、丑陋、罪恶的一面。这一天，伊丽莎白偶然和一个静止头像的女孩聊天，随后竟目击了对方被残忍杀害的一幕。受到惊吓的伊丽莎白连忙报警，但警方不置可否，她的男友达米安（David Schlachtenhaufen 饰）也认为视频系伪造而成。直到某天，达米安突然消失，而她的朋友也都被卷入一连串的恐怖事件中。 网络让恶之花迎风怒放……
《我盛大的希腊婚礼2》仍将由尼娅·瓦达拉斯（Nia Vardalos）自己编剧、自己主演，而片中饰演他老公的约翰·科伯特（John Corbett）以及她那个吵吵闹闹的希腊大家庭成员也都将回归。 据悉，这部续集还会由汤姆·汉克斯（Tom Hanks）和他夫人丽塔·威尔森（Rita Wilson）通过Playtone制片公司制作。 对于自己为何等了12年才创作续集，尼娅·瓦达拉斯解释说，十二年前的那部电影是她根据自己家庭生活创作的，如今她当了妈妈，自己的家庭生活又翻开了新的篇章，因此才会创作续集。“当然，有些媒体会说我缺钱了，或者我想亲吻约翰·科伯特了”，她开玩笑说，“这两者中有一个是真的”。
韦文德（苏有朋 饰）是一名音乐家，某日，他演奏了老电影《刘三姐》中的插曲，被导师听到，导师告诉韦文德，尽管他的技艺已经炉火纯青，所弹奏了曲子却缺少最重要的东西——灵魂。为了寻找灵魂，韦文德决定回到故乡广西，在那里探寻有关刘三姐的轶事。 回到家乡后，美丽的刘甜甜（黄圣依 饰）成为了韦文德的导游。在刘甜甜的带领下，韦文德重温了祖国的壮阔河山，见识到了中国各族人民团结在一起的美好场面。随着时间的流逝，韦文德和刘甜甜之间产生了真挚的爱情，然而就在这时，刘甜甜的闺蜜阿梅（车永莉 饰）却告诉她，自己打算和韦文德在一起。
少女若兰童年时期因患小儿麻痹，导致性格时而消沉时而暴躁。父母对她虽无可奈何，但仍满怀希望。在一个偶然的机会，若兰从兰花的生长到开花之中领悟到生命的意义，并激发起生活的信念。加上父母苦心的照料，一心一意的协助她康发作若兰的努力下，她终于渐渐恢复了健康
《人，空间，时间和人》讲述了一艘老军舰上不同年龄和职业的人之间发生的故事， 强奸，谋杀，兵变， 金基德没有给予片中的人物丝毫的放松时间。 电影中的所有人物既没有名字也没有背景，唯一重要的只有让人喘不过气来的“当下”。在一个戏剧性的人际关系的漩涡之中，一场关于食物和生存的斗争完全转向了荒诞。
方青山为救学生们，被迫背弃了自己深爱的未婚妻叶蓝，而另娶他根本不爱的唐雪芸，而叶家也被曹康害的家破人亡，叶蓝意外失足生死未卜，方青山心中无限悲痛。方青山不愿与唐雪芸圆房，唐雪芸十分伤心。此时的叶蓝被楚江救起。叶蓝去崇文学堂探望方青山，却被方青山意外发现。见叶蓝仍在人世，方青山又惊又喜。 爱国学生密谋刺杀唐立的行动实验炸药。方青山出面保护学生，却意外被炸药炸成重伤。叶蓝救活了方青山。 镇长唐力下令处决为首的三名学生，唐力拗不过女儿的求情，但提出了一个条件，三个月内方青山必须让唐雪芸怀孕，否则的话，枪毙令依然有效。 方青山心中既愧疚又抗拒依旧不肯圆房，温柔体贴的唐雪芸为此伤透了心。叶蓝和方青山无法再压抑内心的爱恋，身心终于完全属于对方。 叶蓝未婚怀孕的消息不胫而走，在曹康的撺掇下，叶氏族长逼迫叶蓝说出腹中孩子的生父，要将这个男人的姓名公布于众。叶蓝宁愿在祖宗牌位下接受审判，也不肯伤害到方青山。 在紧要关头，唐雪芸竟为叶蓝解了围，方青山内心对唐雪芸更加惭愧，不久后深受打击的唐雪芸旧疾复发，一病不起。 而曹康投靠了日本人，借助日本人的势力成了龙城警察局长。他终于发现了叶蓝和方青山之间的秘密。曹康陷害方青山入狱严刑拷打。 叶蓝为了救方青山决定嫁给曹康，方青山逃出了监狱，在叶蓝和曹康大婚之际楚江和方青山并肩作战。楚江却为掩护方青山和叶蓝逃走，而壮烈牺牲……
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.
曹查理与李中宁各自携女友去泡酒吧，在包厢内他们一边谈笑风生一边还看起了香港的3级片来，更有意思的是他们看的居然还是各自年轻时拍过的3级片。就这样，他们一边看一边还在争论着谁拍得更刺激演技更出色呢
“秘密结社如月”眼见征服世界的目标即将实现，为了扩大版图，将战斗员六号作为先遣部队派遣至新侵略地，但他的各种行动却让干部们伤透脑筋。
1161年，大宋国土幅裂，金主完颜亮欲大举南侵中原百姓不堪严苛征兵鱼肉压榨，年方二十一岁的辛弃疾聚集乡众奋起抗金，投奔由耿京领导的一支声势浩大的起义军，屡战屡胜。1162年，力主驱逐侵虏、收复失土、实现国土统一的辛弃疾，南下说服南宋朝廷北伐，在他完成使命归来时，却见主帅耿京被叛徒杀害后义军溃散的乱状。面对完颜拔速五万大军，辛弃疾及誓死相随的五十勇士何去何从…