《把我送给你》是一部历史剧，讲述了朝鲜时代的年轻寡妇和年轻鳏夫相遇后展开的"剩女、矿工的婚礼大作战"。年轻寡妇郑顺德与汉阳最郁愤的男青年沈郑宇齐心协力为4名朝鲜代表性的剩女匹配婚约的是孤军奋战的喜剧爱情片。路云将饰演汉阳最郁愤的男子沈郑宇。沈郑宇拥有清醒的头脑和让人无法不回头看的天生帅气的外貌。但是，他并不谦逊。在17岁那年，他偏偏被公主看中，成为了驸马。但是因为公主在婚礼中晕倒，他只得在17岁就变成了年轻鳏夫。公主的丧事结束后，他每天都在以“请把我与公主的婚姻判为无效。请把我这样优秀的人才用在国事上吧"的内容上诉。之后受王的指派，投身到了让剩女们嫁出去的的做媒行业中。赵伊贤饰演晚上是北村儿媳，白天是房货商贩，过着双重生活的年轻寡妇郑顺德。郑顺德不仅涉猎恋爱小说，还偷偷学习武术、拥有无人能及的越墙和跑步实力。虽然命运注定会成为剩女，却出乎所有人的预料，22岁就结婚了。但是郑顺德丈夫在结婚半年后患病，然后过世了，于是郑顺德成为了年轻寡妇。
李詠藍在29歲接到電話，是把既熟悉又陌生的聲音-原來是她的初戀情人李芯悅。藍被邀請作悅的伴娘。藍雖猶豫，但也答應了悅的邀請。結婚前一晚，藍看著悅的背影，想起二人在中學時候一段疑幻似真的感情。2001年，二人同是高材生，就讀香港傳統名校女校。每日徘徊在聖母像下，卻因青春期的性別迷思，產生出一段不知是友情還是愛情的關係。第一次動心，第一次拖手，第一次親吻。後來，愛情的諷刺莫過於外在壓力應付了，內在壓力卻逃避不了。現實和理想的分歧，逼使二人追尋不同的將來。上到大學，一個追尋夢想，一個卻因爸爸離世屈服於現實。這段感情的遺憾的是，一人歸納為愛情，而令一位卻總結為成長。這殘酷的婚禮，把二人再一次拉近。藍拖著悅的手，在眾目睽睽下進場，把自己的最愛，交給如今她的最愛。這條路，是對青春的告白，還是告別？
屌丝哥恶搞众人，固定的演员演绎着并不固定角色的笑话集。每个人都有疯狂和屌丝的一面，《十万个楞笑话》希望可以抓住生活中的每一个值得玩味的点，用夸张荒谬的手法对其进行变形，进而疯狂自嘲自贱，在犯二中，达到了娱乐自我和娱乐大众的目的
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内详
六年级学生韩飞（李权霖 饰）妈妈因车祸去世，爸爸（邱林 饰）怕他难以接受，以离婚为因隐瞒残酷事实。韩飞却误解是继母蝴蝶（李凤鸣 饰）出现导致父母离婚，而不接受继母。爸爸告诉他妈妈去世的真相，尤其是韩飞生日发生的事件让他了解了什么真正的母爱。
”Candelabra-bearing Evelyn Stewart and her guests have a procession through an old basement filled with festive costumes and spirits of death.“
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.
Seneca’s foster son, the Emperor Nero, grows weary of his mentor and orders him to kill himself. Seneca complies but his death is agonisingly slow. Cue John Malkovich in the role of the great philosopher in uproar, railing against tyranny. Bliss!
9月11日 22-23赛季法甲第7轮 斯特拉斯堡VS克莱蒙
已婚男人何慕洋（刘冠男 饰）在意外邂逅女记者任梦（戴韩安妮 饰）后，坠入了爱河。妻子江欣非常伤心，何慕洋在婚姻与情感之间的纠缠也身心俱疲，事业更是遭遇了严重危机。最终任梦选择了离开，何慕洋也重新回归到了家庭。
桑依玲因为父亲棒打鸳鸯、男友弃之而去，情绪低落电话告假，她打电话向正在开车携妻外出度假的吴海斌告假，无意间造成一场车祸，导致吴妻丧生，她在自责中前往国外进修。三年后，桑依玲跨过内心牵绊，接受吴海斌邀请回到国内担任网站视频主持人，再次成为吴海斌的下属，进而成为一对情侣，然而，她与吴海斌的感情发展并非一帆风顺，前男友方子丹与网站合作伙伴韩娇的介入，令两人陷入互相猜忌与折磨中，同事郝芯与吴海斌岳母汪琴的百般阻挠，又差点使他们的感情拦腰斩断，最终，他们选择了为爱坚守，为的是要将爱情进行到底。吴海斌前岳母汪琴重病入院，桑依玲义无反顾地捐血相救，汪琴冰冷的心终于得到感化，她向一对有情人送上真诚的祝福。