非来不可

节目以两位博学幽默的大叔孟非、刘震云携手“youngfriends”，展开代际碰撞的旅行，解锁同一个地方的不同打开方式，互相体验对方的旅行玩法，碰撞观点、寻找共鸣。uncle和young们参与节目录制，与文化、旅游、自然、生态亲密接触，向世界讲好中国文旅故事。

Tripped Up

4twentysomethinggirlfriendstakeachaoticroadtriptoamind-blowingfoodfestival.Acomiccoming-of-agetalewithappetiteappeal.GirlsTripmeetsTheChef

他在古代当王妃

暂无简介

我爱我家

20世纪90年代，在老北京的一片普通生活区内，住着平凡的老贾一家。一家之主傅明老人（文兴宇饰）是参加过革命的老干部，退休之后依然官腔不减，但在商品社会抬头的今天，他的言行显得有些格格不入和可笑起来。某机关任职的长子贾志国（杨立新饰）和在曲艺团工作的妻子和平（宋丹丹饰）共同抚养着可爱的女儿圆圆（关凌饰），加上不务正业的二儿子志新（梁天饰）和时常搞出状况的小保姆（沈畅饰），令这个人热闹的大家庭内上演着一段有一段爆笑可爱的故事。他们的喜怒哀乐平常可见，是每一个生活在这个古老大地上的国人真实的倒影……本剧为中国首部情景喜剧。

古惑仔3之只手遮天

东升社在老大骆驼的重整下声势日盛，而洪兴社在蒋天生（任达华 饰）的管理下亦蒸蒸日上。两个帮派暗中有不少争斗，但表面上两个帮派仍和和气气。 东升社的乌鸦（张耀杨 饰）野心极大。他在东升社的最大势力所在地荷兰阿姆斯特丹市枪杀蒋天生，再嫁祸于陈浩南（郑伊健 饰）。洪兴社的众人都以为陈浩南勾结外人杀死了蒋天生，派出大飞追杀陈浩南，陈浩南侥幸逃脱。 乌鸦见骆驼病重，乘机将其杀害，顺利坐上了东升社老大的位置。乌鸦准备为骆驼举办一场风光大葬。葬礼当日，各路江湖人马齐聚灵场，浩南、山鸡（陈小春 饰）亦出现了…

女优，摔吧！

前往日本当AV女优的丽丝爱爱（夏于乔 饰）与小红莓（吴映洁 饰），因为不幸遇到“AV界的寒冬”，没钱赚的两人只好认命回台湾，阴错阳差之下加入摔角俱乐部，与摔角高手（黄心娣 饰）不打不相识，在经历重重考验后三人组成“莓人爱”摔角团体，开启三人的摔角之路。

表情奇幻冒险

由艾里克·西格尔和安东尼·莱昂迪斯创作剧本，后者还将导演这部电影根据介绍，《Emoji大电影》有些像《头脑特工队》和《无敌破坏王》，讲述的是一群表情包在你的手机里的冒aaa。这群表情包住在“Emoji山谷”里，他们的世界通过手机桌面与其他App的世界相连。据悉，索尼已经与很多家知名的App达成协议，将会在电影中用到他们的App，其中包括音乐应用Spotify。

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.

金瓶梅2：爱的奴隶

　在设计害死武大郎（吴志雄 饰）后，西门庆（林伟健 饰）如愿以偿的将潘金莲（早川濑里奈 饰）纳入房中为妾，不仅如此，他还勾搭了良家妇女李瓶儿（上原加绘罗 饰），几个人过上了有时一天两次有时一天三次的性福生活。 　　哥哥被害，悲愤的武松（吴庆哲 饰）决心要替兄报仇，没想到，正直的他竟落入了西门庆设置的圈套之中。西门庆派自己的侍女春梅（梁敏仪 饰）勾引武松并诬陷他企图强暴自己，就这样，武松锒铛入狱，而春梅也凭此功绩加入了西门庆的麾下，四人建立起了属于他们的性爱王国。而春风得意的西门庆不知道的是，他正在一步一步的走向毁灭。

英雄孟良崮

1997年6月播放。

公司职员

看似平凡的五金制造公司其实是一所铜金属一样冰冷无情的杀人公司。池炯道(苏志燮 饰)虽然整日西服革履，却是该公司业绩卓人的职业杀手。他为公司供职十年，没有一次失手，早已磨练出冷血气质和杀人不眨眼的狠心。但遇到来公司“打工”的新人罗勋(金东俊 饰)时，他突然看到了自己当年的影子。在和罗勋一起执行任务时，炯道有了片刻的恍惚。通过和罗勋的家人交流，他越来越感到亲情的温暖，更在遇到心爱的女人刘美妍(李美妍 饰)时，他的职业敏感发生了变化。在执行一次任务时，因犹豫而导致任务失败，这也让炯道第一次萌生退意，但事情远没有他想象的那样简单。一天之内，他从公司最有前途的职员变为公司的敌人，遭到原同事们追杀的“目标”……

笔仙3

讲述了患病入院的丽娜因为惦念自己的女儿小艾从医院逃出，回到阔别数年的家中想领回女儿一同生活。爷爷奶奶在争夺小艾的途中遇车祸去世后，丽娜母女搬进爷爷留下的老宅，却遭遇到一桩桩恐怖事件，邻居们也变得奇怪起来。