OK赖（黎明 饰）以说谎话而为人所知，一天他在便利商店认识了Wonderful（张栢芝 饰）。OK是一名地产经纪，到Wonderful所在的公司洽谈业务，却被Wonderful及其朋友误以为OK是公司老板的一位身家斐然的表弟。OK将计就计，决定要骗着Wonderful，一边跟公司老板的妹妹谈情。Wonderful的父亲欠下了赌债，OK发散了朋友帮助Wonderful还债，令Wonderful感动不已。纸包不住火，最终Wonderful都知道了OK的谎言，伤心离开。OK为了挽留她，承诺以后不再说慌。在W
讲述的是作为地方选举的有力后补，即将人生高光时刻的景锡（吴万石饰）为了掩盖老丈人的受贿行为与一个奇怪的青年顺泰（智铉寓饰）见面，影片为绕此次会面讲述了发生在24小时内的故事。
历经数年牢狱之灾，影子（瑞奇·惠特尔RickyWhittle饰）终于迎来重获自由的时刻，可是他并不因此而快乐。妻子劳拉（艾米莉·布朗宁Emilymeijubar.netBrowning饰）数日前死于车祸，回家路上又遭遇自称“星期三”（伊恩·麦柯肖恩IanMcShane饰）的男人的不断纠缠。最终，影子受雇于星期三，成为对方的保镖。原来星期三的真实身份是北欧之神奥丁，由于现代文明的飞速发展，古老的神祇渐渐被人遗忘，而以手枪、毒品、娱乐为代表的新神迅速崛起。后者无所不用其极想将旧神驱逐，而奥丁作为旧神的代表则四处寻找伙伴，对抗新神的欺凌。繁华时代，神与神的战争拉开序幕……本片根据尼尔•盖曼的同名原作改编。
女演员蜜拉参加她的最后一次试镜。试镜地点是在远郊的破旧古宅里。蜜拉同其他五位女演员及经纪人一起来到这里，并结识了新片的剪辑师翟立川。很快，杀人事件发生，女演员接二连三遇害。蜜拉与翟立川一边寻找出口，一边遭遇各种奇异怪事及同伴的死亡。在一次突发事件后，蜜拉与翟立川失散，并遇见了被绑在献祭架上，奄奄一息的孕妇山岸莞优，莞优请求蜜拉帮她找到药品止血，并提示她小心翟立川。蜜拉在寻药过程中发现了翟立川的真面目，遭到他疯狂追逐……
金无法相信他心爱的孩子芭芭拉公主已经长大成人。他仍然试图照看公主，但是16岁的芭芭拉在她的生日聚会上发脾气。当所有人都心烦意乱的时候，王位却被一个狡猾的邮差黄鼠狼抢走了。然而，由于不满足于成为王国的唯一统治者，他还打算嫁给芭芭拉。芭芭拉公主跑出宫殿，发现自己在森林深处。她碰到了歹徒布吉和他的朋友邪恶的兔子。芭芭拉的干涉严重破坏了这两个朋友普通的单身生活。芭芭拉干预每件事，安排自己的一套规则，并不断让他们对她关于爱德华王子的假设感到不安。她想象爱德华王子如何击败冒名顶替者，恢复国王的职位，并向芭芭拉求婚。就像书上说的。为了除掉芭芭拉，布吉决定去寻找爱德华王子，阻止黄鼠狼，恢复王国秩序。
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.
外地来京的女孩琳琳从小在父母不和的家庭中长大，非常渴望家庭的温暖。她与单亲家庭中长大的大壮恋爱结婚，在北京有了家。但是婚后的日子在婆婆的监视和控制下过得异常艰难。一年以后，琳琳抱着自己的儿子宝儿与婆婆相见，两个女人之间达到了最大的理解与宽容。
故事发生在西北的寒水县莽原镇潘家卯村。一个农民因交不起特产税，被抓走了。几百个农民冲进镇政府，把他抢回来……面对莽原镇政府被冲击一事，县委、县政府的领导展开了激烈的争论。县委书记韩风和镇委书记冯云龙要严惩肇事者……县委派新调来的副书记刘塬和新上任的宣传部副部长杨静茹到潘家卯，调查情况，安抚群众。刘塬是潘家卯人，是村里的乡亲们供他上的大学。乡亲们又拿着钱让他把抓走的人赎回来……潘家卯的事件引起了上层领导的高度关注，“三农”问题的实质浮出了水面。刘塬为家乡办起了果品加工厂，干部们受到了深刻的教育……
10月21日 22-23赛季西甲第10轮 奥萨苏纳VS西班牙人
“如果发生奇迹，我想再次见到你。这次，我想告诉你我的想法。” 高中生航太和芽衣是青梅竹马，两人开始互相意识到，并以为他们总能传达自己的“喜欢”的感觉，可是航太突然离开了这个世界……。 在七年后的2020年，芽衣七年来首次返回家乡，在充满了航太回忆的樱桃树下造访，在那里出现的是应该死去的17岁的航太。只能在奇迹般的樱花盛开的期间留在世上的航太，他能在剩下的时间内向芽衣传达他的想法吗？航太的下落和芽衣的童年友谊？航太死后所隐藏的震惊的秘密是什么？最后，两个人的命运选择。
Netflix续订《#外滩探秘# Outer Banks》第二季。
乾隆盛世年间，红花舵陈总舵主与乾隆皇帝私下约定，决心放弃反清复明解散红花会，然而副舵主白眉执念深重，设计杀死陈家洛夺取总舵主之位，陈总舵主死前交代义子方世玉务必带着信物与乾隆会面，以保红花会众徒平安路途上，白眉不断派出杀手刺杀方世玉，多次有惊无险，从客栈江湖杀手的追杀，到山寨历险，方世玉与红颜知己苏淼淼经历生死、情深似海，在最终的大战中，方世玉与白眉大战，救回淼淼，而白眉死前，却道出乾隆假意招安红花舵的真相，方世玉却坚信自己的信念与选择，与红花舵会共存亡。