五十军朝鲜战记，50军成立后，部队进行了政治整训。
凯撒为了淡化阿斯特里克斯村庄的团结，削弱当地的习俗，在高卢附近建立一个度假村。村民前方百计破坏这项工程，首先是神奇的森林补植，然后在罗马人搬入新夏后吓跑他们，最后又将刚迁入的罗马兵团痛打
张成功（李威 饰）拥有着英俊帅气的外表，刚刚从国外留学归来的他顶着牙医学博士的头衔，在国内收到了各种莺莺燕燕的殷勤追捧。然而，张成功的眼里只有一个人，那就是韩雪霏（苏小妹 饰），可是韩雪霏对待张成功的态度却非常的冷淡，不仅如此，她的个性大大咧咧，是一个实打实的女汉子，韩雪霏身上究竟是哪一点在深深的吸引着张成功呢？ 就在张成功和韩雪霏之间的关系剪不断理还乱之时，身材火爆而又性感的女演员毛毛（付曼 饰）加入了这场爱情争夺战之中。与此同时，韩雪霏的身边出现了潇洒多金的公子哥阿B（崔文璐 饰），不仅如此，就连韩雪霏的妹妹韩晓丽（童苡萱 饰）也向张成功暗送秋波。
林兮迟（宋伊人 饰）成长在一个破碎的家庭之中，母亲的缺席让她从很久以前起就对爱情失去了信心。许放（张耀 饰）是林兮迟青梅竹马的玩伴，他目睹着自己的好友一天一天的长大成人，经历着人生中必不可少的心碎和坎坷，虽然心中充满了爱怜，却也无计可施。许放能够做的，只有隐藏起内心里对于林兮迟汹涌的感情，化作沉默但永恒的大海，默默守护在林兮迟的身边。 害怕受到伤害的林兮迟关闭了自己的恋爱神经，虽然许放永远不离不弃的陪伴着她，但是对于她来说，许放永远是哪个人畜无害的大哥哥而已。当有一天，林兮迟忽然意识到许放对自己的感情时，惊慌失措的她能否正视自己的内心呢？
陕文投艺达影视于12月7日在京举行“艺·拾光E·视界”十周年暨片单发布会。现场发布了短剧作品《我的开挂人生》，该剧是一部拥有奇幻色彩的现代轻喜剧。
同一场婚礼竟然出现两个版本。山姆·克拉弗林饰演的杰克身为新娘的哥哥，得轮番应付火大的前女友（芙蕾达·苹托饰），一位怀有秘密的不速之客，一颗被乱放的安眠镇静剂，以及当年追不到的梦中情人（奥莉维亚·玛恩饰）。一场婚礼，两样结局。
At the start, a man is almost killed by a woman with a knife. He kills her, but killing someone in this house isn't easy. There's magic at work here that makes people become zombies. We follow a guy who is a weightlifter and bodybuilder who goes on an expedition to this house with some invesigators. They are soon zombified and the muscle builder must use his abilities to try to save a young woman, even as the zombies will reanimate even if cut into pieces. Will he survive?
在 Netflix 美国无脚本剧集《爱情盲选》中，单身人士想要别人爱上真正的自己，而不是外表，于是他们选择了一种不那么传统的现代约会方式，希望可以找到想要与之共度余生的另一半，而他们都是未曾谋面的陌生人。该节目获得了包括最佳虚拟现实类真人秀奖在内的 2 项黄金时段艾美奖提名。在没有外界干扰的情况下，单身男女会和几个潜在的爱慕者聊天，在回归现实世界后，情侣们开始筹划婚礼。婚礼越来越近，而他们很快就会认清两人在情感上的联系能否转化为真爱。藤井隆和板谷由夏将担任《爱情盲选：日本篇》主持人，带领观众见证社交实验节目的剧情走向。
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.
讲述老汤吃著碗裏的肉，看著锅裏的肉，最後碗裏的肉发现了锅裏的肉，一场荒唐的肉战即将上演......
宇航员项少龙在“星云”号事故中，遭遇黑洞，穿越回到2000多年前战国时代的中国，秦王嬴政登基前三年的赵国邯郸。项少龙孤身流落邯郸，为了可以回到未来，他决定不顾一切找到嬴政，助其建立一番伟大功业，从此开始了他寻找秦始皇的历程。途中，他不仅卷入质子回秦和各国权臣阴谋诡计中，并偶遇古代少女星云，在战国时代书写一段传奇 。