故事根据约翰·盖2004年所著传记《真实的玛丽·斯图亚特》改编，讲述玛丽·斯图亚特(罗南饰)和伊丽莎白一世(罗比饰)一度交恶，而她却不知自己已四面楚歌。
AbrightstudentinNigeriatakesontheacademicestablishmentwhenshereportsapopularprofessorwhotriedtorapeher.Basedonrealevents.
农村姑娘兰兰到城里打工，盲打误撞竟然成为了携带贵重文物的人，因此招来了黑社会犯罪团伙的追杀……
范大明白（崔志佳 饰）再次接到三百万葬礼，让人意想不到的是，这个项目来自于昔日的竞争对手—赵大明白（于洋 饰）。但众人时间、地点、人物任何信息都不知道，而唯一知道信息的赵大明白，却意外昏迷住进了医院。范大明白众人，也负责临时照顾赵大明白的儿子—赵乐乐。豪华葬礼的消息传了出去，曾经的艺术家们再次登门纷纷寻求合作，而这次豪华葬礼的背后，却不像表面如此的简单……
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.
1993年，仁川，高利贷追讨者头石（成东日 饰）和宗培（金熙元 饰）想从明子（金允珍 饰）处拿回欠款，却因为明子的窘迫只得将她的女儿承利（朴昭怡 饰）带走作为担保。 因为被人举报，作为非法滞留者的明子遭到驱逐，临行前拜托头石将承利送至其大伯处。本以为承利会被有钱人家收养的头石却发现承利被送到了不该她待的地方，他毅然决定把承利夺回… 此去经年，正在中国作为中韩外交事务翻译的承利接到宗培的电话，得知了失踪已久的头石的讯息…
7月23日 2022女足东亚杯第2轮 日本VS中国台北
BBC One的3集迷你剧《英式丑闻 A Very English Scandal》根据Jeremy Thorpe的真人真事所改篇。在60年代末英国才刚刚对同性恋除罪化，而当时作为自由党领袖，以及百年来英国政党中最年轻的领袖，Jeremy Thorpe（Hugh Grant饰）隐藏着一个秘密 – 他有一个前同性恋人 Norman Scott（Ben Whishaw饰）。 只要Norman Scott还活着，这对Jeremy Thorpe来说都是威胁，因此他策划谋杀前度，但最终不但不成事，还被对方指控意图谋杀。此事令Jeremy Thorpe成为首位因谋杀案而受审判的英国政治家，更被公众得知他的同志身份；最终Jeremy Thorpe虽然被判无罪，但也结束了政治生涯。 该剧由Stephen Frears执导﹑Russell T. Davies负责执笔。...
Paul Attanasio执笔的CBS剧《女局长 Tommy》获正式预订，剧中讲述一位前高级纽约警官Abigail “Tommy” Thomas（Edie Falco饰）成为洛杉矶警察首位女局长后，她如何用诚实但强硬的手段解决各种社会﹑政治﹑国家问题。 其余主演包括 Michael Chernus﹑Adelaide Clemens﹑Russell G. Jones﹑Olivia Lucy Phillip﹑Thomas Sadoski及Joseph Lyle Taylor。
高进前来香港与赌魔决斗，怎料刚抵港，便被南哥追杀，结果堕入陷阱而失忆幸得刀仔和其女友珍相救，他们把高进带回家中疗养，发现高进精通赌术后，兴奋不已，想利用他来挣大钱，却反而因为高进发挥不稳亏了钱。高进妻子遭其堂弟高义醉酒后污辱杀害。高义进而联手南哥，设计谋害高进，四处搜罗进的藏身地点，前往追杀。逃亡之时，高进翻车受伤，竟恢复了记忆——但是却怎样也记不起失忆期间的事情。刀仔提醒进，高义并非好人，但进却毅然蒙在鼓里，不知危难当头。
阿琳（安妮·彤帕拉松 Anne Thongprasom 饰）是一名女演员，如今，已经二十五岁的她不仅在样貌上再不复往日的青春靓丽，事业亦因此而受到了牵连。更年轻，更漂亮的偶像层数不穷，阿琳十分清楚，自己的事业俨然已经开始走上了下坡路。 某日，一档烹饪节目邀请阿琳去做嘉宾，尽管阿琳一口答应下来，但是实际上她对做菜一窍不通，于是，阿琳找来了平凡的厨师迪（提拉德·翁坡帕 Theeradeth Wonpuapan 饰）聘请他做自己的老师。阿琳已经到了想要结婚的年龄，然而，在她的心目中，那个男人必须是一个完美的男人。英俊又多金的烈（Willy 饰）显然十分符合阿琳的要求，阿琳遂向他展开了热烈的攻势，却丝毫没有发现，迪注视着自己的目光中已经有了另一丝感情。