《荡寇》以巴西圣保罗市区一处传统的东洋街区为背景，讲述了年轻冲动的纨绔子弟麒麟和他的父亲，一个带有传奇色彩的中国籍逃犯野良之间的恩恩怨怨。这对父子是南美最大的假货走私集团的首领。他们统治着东洋街区这个充斥着帮会势力、街头商贩、腐败政客和舞女的地方。然而，苦心经营多年的帝国仍会因一着不慎而难逃毁灭的命运。一个由政客和黑帮串通的阴谋正在逼近野良。他逐渐地失去了对生意的控制，陷入了颓废之中，最终锒铛入狱。剩下麒麟在这个街区战场中孤军奋战。但野良有感于年华已逝，厌倦了血雨腥风，便离开了儿子，制造了自己死亡的假象。搭乘军方安排的直升机被投进丛林，那是他生命的起点，如今是他作茧自缚、忏悔的迷宫。摆脱了暴力的困惑迷惘，麒麟开始寻找他的父亲。在神秘的森林中，父子俩将过往的恩仇一笔勾销。那刺出的一刀杀死了一个世界，万物在麒麟面前枯萎然后重生,密林和大海一片寂静，生命还是自己在承担。
拥有美艳的外表、利落的身手、聪慧的头脑，真玉（河智苑 饰）简直就是完美女神的化身，是三剑客中当之无愧的队长。表面看来只是一介平凡家庭主妇的洪丹（姜艺媛 饰），实际上却是标枪高手。与此同时，视金钱如性命的她为了获取财富，愿意付出一切代价。加菲（孙佳仁 饰）平日里沉默寡言不露声色，然而出了什么事情又总是第一个冲出来守在最前线，霸道而又好斗的她深受同伴的信赖。 在师傅（高昌锡 饰）的苦心调教之下，三位英姿飒爽的女剑客同恶势力做着不懈的斗争。某日，三人接到了来自上级的密令，出发前去寻找遗失许久的十字镜，最终在无意之中挽救了整个朝鲜民族的命运。
在美国，有这么一群勇敢的女性，她们为了呼吁社会改变对于女性胸部的看法，而创造了这部名为《Free The Nipple》的影片。A Day Magazine网站写道，这群女性希望废除落后法制，停止将女性的身体犯罪化、污秽化。 据说 影片在拍摄过程遭遇了许多阻扰。
国际特工组织OSS将朱尼和卡门姐弟俩派到迪斯尼乐园里完成一件重要任务，事情是这样的：总统的独生女亚历克桑德拉因为长久以来得不到父亲的关爱而心生怨言，于是偷走了被称作“TRANSMOOKER”的国家防御系统电脑芯片，紧接着，许许多多的追杀跟随而至……
洞房花烛夜，新娘子秦秀儿突然暴毙，一颗美人首不翼而飞。是人间凶杀，还是鬼神搬运？扑朔迷离……丈夫朱朗，爱妻情深，誓要寻回妻子头颅，入土为安。千里跋涉，朱郎借宿判官庙，一夜惊魂后，意外得知妻子死亡真相，肝胆欲裂。翌日，朱朗击鼓鸣冤，状告蓝田县豪绅赵官人杀人、夺妻。不料，秦秀儿现身公堂，翻脸无情，不但相帮赵官人，令朱郎含冤入狱，还欲置其于死地。关键时刻，神秘女人现身，救出朱郎，从此，赵官人府邸日夜不宁……道士驱魔、判官显灵、知县断案，种种手段后，仍然难逃一劫；春宵一刻，秦秀儿再次断头，赵官人魂飞魄散入地府。团团迷雾、种种因果在此拨散、开解。秦秀儿、赵官人、朱郎、郑氏恩怨纠葛，纷纷粉墨登场。因恨而死、为爱重生，一场人世惨剧本已阴间了结，谁知雷霆霹雳，阴阳幻化，忠、奸、善、恶再次颠倒……
小菱为了赚钱交学费，在一个霸道帅哥家当保姆。
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.
陈涛涛是一名普通高中生，有着青春期里所有的烦恼，与家长不和、学习成绩不好、受青年班主任王老师的冷眼和大块头同学和不良少年的欺负、不能进入自己喜爱的足球队以及从来不敢正视自己暗恋的女神。陈涛涛期望着改变这一切。一天，虽然张小帆心情低落却依然帮助了一位神秘老人，又碰巧横眉冷对的王老师，陈涛涛在酒精的催化下，和王老师发生口角，都要求对方换位考虑问题。这时，正如他们所愿，两人灵魂产生了互换。变成王老师的陈涛涛虽得意一时但发现生活中的处处不便，于是陈涛涛和王老师达成一致定要想办法做回自己。在神秘老人的点拨下，通过二人的相互帮助、理解和共同努力，最终将灵魂换了回来。此时，陈涛涛和王老师在学业、爱情以及亲情中也分别得到不小的收获。
东京电视台(TV TOKYO)于2019年4月12日起每周五凌晨1时播出《电影少女 -VIDEO GIRL MAI 2019-》。 故事的男主人公是独自居住在学校附近的高二男生叶野健人(萩原利久 饰)。某一天正当他试图播放一卷在学校录像室里发现的录像带时，电影少女·神尾舞(山下美月 饰)透过屏幕飞了出来。于是，两个人便开始了奇妙的同居生活。为了帮助健人实现理想，电影少女总是不择手段、无比忠诚地贯彻他的命令。健人也在这段关系中越陷越深，而电影少女的真正目的又究竟是什么？ 本剧改编自桂正和的同名漫画，承接2018年播出的《电影少女2018》，是该系列的第二部作品。
HBO正式宣布续订《104号房间》第二季。 该剧一集一个故事，将讲述每集该房间的不同房客，离奇怪诞的故事，有点类似#9号秘事# 第二季预计2018年开播。
曾经的拳王陈唤，十年前被迫退役，自此一蹶不振，负载累累，在拳馆浑浑噩噩的当着教练二十出头的阿超喜欢格斗，从小在父亲的训练下学习摔跤，有着极佳的格斗天赋，但为了救同学余芯失手打死人而入狱三年，为此在他心里一直存有很深的芥蒂。出狱后，余芯带着阿超找到陈唤，希望陈唤能训练阿超。她知道只有格斗才能救醒阿超，让他打开心结，重新生活。同时陈唤得知自己的女儿将要被前妻送往加拿大念书，为了拿回抚养权和女儿在一起，陈唤必须具备一定的经济基础。于是陈唤决定训练阿超，带他参加格斗赛事拿到冠军赢得奖金。在艰苦的训练和一次次的比赛下，两人积累了深厚的师徒感情，两颗封闭的心，也因为彼此向世界打开了一扇窗。