犯罪嫌疑人

刑侦队长吴栋在一次执行任务中，恰巧抓到了一个大贩毒团伙的要犯。在激烈枪战中搭档王飞牺牲，上级领导限期侦破，吴栋在层层重压下，投入了紧张、危险的侦破工作，“6?16”案的艰难历程开始了……在线人的帮助下，吴栋等得到了这个团伙毒贩交易的准确情报。追捕过程中被警觉的毒贩谭小蓉觉察，追捕行动失败，但谭小蓉却无意留下了一个手机号。顺着这个线索，吴栋的视线指向了一个神秘的会所??爱心家园。毒品没有出手，谭小蓉、周建平急于用钱，准备马上把从家乡带回的几个年轻女孩“送”出去，其中有谭小蓉的表妹李小梅。李小梅宁死不愿屈服，被周建平打了毒针。李小梅等被贩卖的去处同样也是爱心家园会所。通过手机号联系到了张学平（李小梅的舅舅），并从他那里得到了关于谭小蓉的一些线索，还了解到李小梅失踪在爱心家园。吴栋等正要调查爱心家园，却被领导张广亮的一个电话拦住了。由于张广亮的层层阻挠，吴栋和于鹏等几个弟兄只能暗地调查爱心家园，调查齐玉坤。在雪华那里吴栋了解到，张广亮最近和齐玉坤联系密切，而且张广亮最近的行为有些反常。吴栋无法对雪华说出对张广亮的怀疑，那毕竟是她的哥哥，是她唯一的亲人。于鹏在秘密侦察时候突然被人暗杀。吴栋因此被停职，下派到了派出所。“6?16”案现在由张广亮负责。吴栋没有因此而放弃，已经有两个弟兄搭上了性命，他不能眼看着犯罪分子继续猖狂下去……神密的爱心家园到底是什么背景？张广亮又为何阻拦？警匪两派又掀起了欣然风波……

气息

伊朗选送的征战2018年“奥斯卡最佳外语片”的影片。伊朗女导演纳基斯·阿贝耶执导，背景设置在70年代末伊斯兰革命与80年代初两伊战争前后，它是以小女孩视角展开的家庭情节剧，特色鲜明的角色撑起了整个故事，时代背景的介入将主线故事与伊朗社会变迁联系起来，影片结尾以及它要传达的主题便来自于家庭故事与历史背景的交汇，于是冗长的情节剧在被战争打断的那一瞬间放佛才真正有了意义

情义两重天

　　芭丽和夏布是一对非常恩爱的夫妻，夏布从事着广告创意的行业，芭丽的存在常常给他带来各种各样的灵感。一场车祸中，芭丽不幸丧生，临终前，她希望能够将自己的心脏捐赠出去，去挽救另外一条无辜的性命。接受芭丽心脏的，是一个名叫达妮的女孩，手术结束之后，达妮在敏敏之中继承了芭丽的性格和好恶，并且在不知不觉之中深深的爱上了夏布。                                                                    　　芭丽来到了夏布所在的公司成为了一名策划人，因为无法忘记已故的亡妻，所以夏布对热情似火的达妮处处回避。但不可否认的是，达妮确实也给夏布带来了很多新的灵感。最终，夏布还是得知了有关妻子心脏的真相。

海底历险记

鹦哥鱼亚历克斯原本只是个平凡的珊瑚礁清洁工。但在某天，从天而降的几滴黑色石油打破了珊瑚礁的宁静。一心想要保护珊瑚礁的亚历克斯想要找出问题，请求国王允许他前往调查。然而没想到的是，他却因为清洁工的身分反遭国王羞辱。亚历克斯决定离开珊瑚礁，游向幽深的大海独力进行调查。亚历克斯的伙伴也陪著他踏上旅程。

南宋诡事之鬼樊楼

改编自小说《南宋第一卧底》，讲述了南宋年间，钱塘县捕头沈墨(唐禹哲饰)被迫卷入一宗鬼樊楼血案，从而一步步揭开一个不为人知的惊天秘密的故事。

欧洲的某个地方

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.

迷惑

富家子弟西蒙（Stanislas Merhar 饰）深深爱着自己的女友艾瑞安娜（Sylvie Testud 饰），他的爱甚至到了偏执的地步。他要掌握艾瑞安娜每天的动向、说过的话、接触的人，任何感情破裂的蛛丝马迹都令西蒙痛苦不已。

WCBA 武汉盛帆vs石家庄英励 20231105

无坚不摧2003

伊蒂

　　为了尝试克服一生的苦涩和怨恨，老太太伊蒂决定爬上苏格兰的一座山，一方面是为了完成她的一个梦想，另一方面，她试图追寻自己生命终点的意义。

至亲血统第二季

当第二季开始时，Rayburn一家人正竭力掩盖他们的严重罪行。一些Danny过去认识的神秘人突然出现，带来了一个危险的阴谋。执法部门继续调查Danny的谋杀案，他们距离真相越来越近。妄想和不信任导致Rayburn一家人曾经团结和睦的家庭关系彻底破裂。谎言堆积如山，盟友遭到背叛，人际关系被毁，所有人都被逼入绝境。在绝望之中，好人也可能干出非常邪恶的事情。 （cr 天涯小筑）

追球2021

那些年，球场上的你，球场外的我……足球少年、青涩少女、校园琴声、赛场呼啸，一幅幅充满回忆杀的画面，一个深情又燃情的故事。左脚追爱，右脚追球。进不进球不重要，有没有后来不重要，重要的是——青春来过，爱情来过。