2023斯诺克苏格兰公开赛 罗伯特·米尔金斯0-4马克·戴维斯 20231211

穿越之狐王的专宠

一朝穿越成为了狐王的真命天女，只想好好修炼早日回地球的苏冉儿，不知赖上她却是一只脸皮比墙还厚的狐狸君~ 她去哪，他都要跟到哪。这一副不追到天荒地老的架势算肿么回事？ 看千年雪山狐王如何化身护妻狂魔，为爱情，人挡杀人佛挡杀佛！

暗剑

该片讲述日本太平洋战场失利，急需在中国大陆打通一条交通线到南洋，与日本海军连接起来。阜阳地理位置重要，想要打通这条交通线，必须拿下阜阳。阜阳地区汇聚的各方势力，为抗日军侵略而抛头颅洒热血，最终突破层层封锁，打了一场痛歼日寇的漂亮保卫战。

铁拳

此剧以泰国曼谷唐人街作为背景，讲述华人到当地的奋斗史。

消音器

讲述一名退休的杀手，无奈之下只能重操旧业，用上以往的杀戮技能，跟曾经的雇主大战一场...

一部笑的稀里哗啦的喜剧电影，到最后却让人哭的稀里哗啦#西部战线

故事发生在1953年，彼时，韩国和朝鲜之间的争斗正值最盛之时，国内情势十分紧张。南福（薛景求饰）本是老实本分的农民，靠着土地吃饭，虽然日子过得紧紧巴巴，但也不失宁静和祥和。战争的到来彻底改变了他的命运，应召入伍后，对如何打仗一无所知的南福就这样糊里糊涂的成为了一名大街上随处可见的韩国下等兵。某日，上司将一份十分重要的机密文件交给南福，命他送往指定地点，这封文件是如此的重要，以至于关系到战争的成败。然而，南福却将文件给搞丢了，而这份文件又恰恰被朝鲜人民军的士兵荣光（吕珍九饰）给拾到了，在两人之间，一场你藏我找的猫鼠游戏就此拉开序幕。

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.

我经过风暴

看似事业有成、儿女双全的徐敏（佟丽娅 饰）却有着难以启齿的秘密：她被丈夫陈均（吴昱翰 饰）长期家暴。徐敏不是所有人想象中受害者的模样，她坚毅勇敢且有自己的事业，在与律师李小萌（王影璐 饰）艰难抗争试图离婚的过程中，面对小心谨慎不留证据的丈夫、周遭人冷言冷语嘲讽质疑、社会系统的不作为、为了两个孩子当离婚不是家暴的终点，当家不是避风港而是暴雨本身，她究竟能否冲破这场风暴？

梁静茹抖音夏日歌会

梁静茹抖音夏日歌会

硫磺泉镇的秘密

这部电影讲述的是一个男孩和他的家人搬进小镇边上一家据说闹鬼的旅馆。

闹鬼的约柜

瓦尔德斯蒂尔

本和女友婷卡以及他们年幼的女儿辛迪住在荷兰的乡村。本在游乐场里与他人起了争执，醉酒开车回家时发生了车祸，女友不幸丧生，本也因此被捕入狱。当他出狱回到家时，婷卡的父亲拒绝让他见辛迪，而辛迪也因许久未见本而不能辨认出自己的爸爸。婷卡的姐姐黛比一直试图缓解父女俩尴尬的关系，本最终也如愿得到和女儿独处的机会，并悄悄带着女儿离开了。