他的镜头是打开的心眼，在最细微处直视灵魂，看到巴西巨坑五万掏金者的集体面相，看到科威特油井冲天大火的真正英雄，看到非洲的死亡延续着生存。每次的拍摄方案都是经年的万里长征，是人神共舞，每次成果都引起巨大回响。合导的儿子伴着老爸远征，只见他用海象的视角，拍出但丁的地狱。再来到地球重病的现在，他重建了一座森林。云温达斯最心仪的传奇摄影师萨尔加多，就是大地之盐。获康城影展某种观点评审团特别奖，入围角逐奥斯卡最佳纪录片。
从俄罗斯押送回国的贪污犯詹明辉及两名俄罗斯警察被人半路劫杀，焚尸灭迹。舒雅和叶聪发现疑点，查明是詹明辉假死脱身的把戏。为找詹明辉，叶聪深入虎穴，危在旦夕。中俄警方赶到，救出叶聪，将詹明辉抓捕归案。
今年斩获8项艾美奖的大热美剧《大小谎言》正式续订第二季，妮可·基德曼、瑞希·威瑟斯彭确认回归主演并担任执行制片，David E. Kelley也将继续担任创作人和编剧，同样是7集。谢琳·伍德蕾、劳拉·邓恩、佐伊·克拉韦茨、亚当·斯科特等主演也有望回归，让-马克·瓦雷不再担任导演，奥斯卡得主安德里亚·阿诺德(《美国甜心》《鱼缸》)接手执导。
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.
因为母亲的事业，艾达不得不搬到另一个城镇，成为温特斯坦学校的“新女孩”。 她在新的班级里日子不好过:交不到朋友的的艾达不得已只能呆在羞涩内向的本尼旁边。 一天，艾达的老师把孩子们介绍给莫蒂默·莫里森——一个周游世界寻找“神奇动物”的人。 每一种动物都注定要成为孩子的灵魂伙伴。 在所有人中，转校生艾达和本尼是班上最先拥有魔法伙伴的人! 从现在起，本尼身边就有一只古老而聪明的海龟，而艾达有一只狡猾的狐狸。 当物品在学校里不断消失，学校出现了超级小偷。孩子们和神奇的小动物为了帮助朋友洗刷嫌疑，解开超级小偷之谜。
一对相依为命的姐妹，姐姐是妓女，妹妹参加跳舞班，她们之间似乎有着超人的默契。然而，妹妹和看门人的相遇，打破了她们的平静。姐姐不能容忍任何人进入她们的王国，于是一系列的变化演化成致命的结局……同父异母的玛利亚和卡特莉娜是一对相依为命的姐妹，姐姐玛利亚靠出卖肉体来供养卡特莉娜上舞蹈课。姐姐似乎与妹妹之间存在着一种难以言传的同性恋情。春情萌动的卡特莉娜爱上了可以做自己父亲的舞蹈班看门人，二人从此纠缠不清。因无法容忍妹妹对异性的迷恋，玛利亚决定毒杀每一个与妹妹交往的男人，最终妹妹忍无可忍杀死了变态的姐姐。
21岁的井上树木（森七菜），是便利店「Coco Every」的店员 ，平时喜欢在SNS上对于甜点 评头论足，这件事被这家便利店连锁店社长 浅羽拓实（中村伦也）所肯定，进而一起挑战制作出便利店原创的“最畅销甜点”，两人也时常因此意见冲突，此时，也渐渐对彼此有了感觉，“社长，我可以喜欢你吗？” 的甜蜜恋情慢慢展开......
Freeform台柱剧《美少女的谎言 Pretty Little Liars》七季剧终后，电视台还是不想浪费这热门剧的余温，因此宣布再一次启动衍生剧计划（过去《美少女的谎言》有部衍生剧《鸦林镇 Ravenswood》，但只能用「默默无闻」来形容），这部衍生剧命名为《美少女的谎言：完美主义 Pretty Little Liars: The Perfectionists》并已正式预定成剧，定于美国时间3月20日首播。 《美少女的谎言：完美主义》根据《美少女的谎言》原著作者Sara Shepard的小说《The Perfectionists》所改篇，将由Sasha Pieterse及Janel Parrish主演并继续饰演母剧中的角色 - Mona Vanderwaal及Alison DiLaurentis；另外Sofia Carson饰演Ava，她是个引...
90年代，东印度公司首席大班布华泉（郭富城 饰）年仅40岁，已经功成名就，经常出入上流社会。工作上，老板很赏识他的才干。不过在生活上，他却面临两个女人的感情纠结：一个是妻子阿娣（杨采妮 饰），另一个是助理Fion（刘心悠 饰）。然而最令他痛苦的是自己的身世。40年前 ，因为一次海啸，泉妈（何超仪/鲍起静 饰）的船遭遇不测，只领回了一个混血婴孩，那便是阿泉。从此，阿泉跟泉妈出海捕鱼，并与下人的幼女缔结了纯洁的友谊。后者童言无忌，谈到他的身世总是遭遇暴打。两小无猜的他们，最终因为一次意外而分离。阿泉的学习很刻苦，但是却与泉爸的关系很紧张。直到工作后，他才慢慢与父亲和解。身世始终困扰着阿泉，即使在外籍的船上，他也难以获得认同。后来，因为家道中落，泉爸离世，泉带着他们一干兄弟姐妹，如逃难般寻找救济，甚至不惜向刁蛮的船主妥协。最终，他了解到自己被收养的身世，这...
影片以独特的视角，呈现了当下北漂的生活图卷，不仅展现了在北京打拼多年的主人公在困境中的绝望和挣扎，呈现了他们的市井生活和青春往事，同时表现出了他们在奋斗中生生不息的希望。