惩罚

因为要对孩子进行惩罚，安娜和她的丈夫马特奥把他们七岁的儿子给留在了森林里，尽管马特奥恳求妻子尽快回头，但仅仅只过去了两分钟，他们的儿子就已经消失不见了。

南方大作战

　　居住在东京一隅的上原一郎（丰川悦司 饰）在20世纪80年代曾是名噪一时的无政府主义运动领袖，运动衰退之后，他和富家小姐小樱（天海佑希 饰）私奔，先后育有洋子（北川景子 饰）、二郎（田边修斗 饰）和桃子（松本梨菜 饰）三个可爱的孩子，日常生计主要靠小樱经营的咖啡店维持。五体不勤的一郎保持着年轻时候的愤青姿态，对大到国家小到学校各种政策皆看不入眼，随之便是无情声讨，这令二郎分外尴尬。此后不久，二郎因打伤不良少年而面临退学的危险。危机时刻，小樱大胆提议举家前往一郎的家乡冲绳西表岛，在秀美风光的环绕下展开新的生活。而一郎的战斗从未停止……                                                                    　　本片根据奥田英朗的同名小说改编。

天外来客

1987年，CarlMerryweather满10岁才没几天，便登上了当地的新闻，因为他声称有外星生物来拜放他。尽管有其他人的说词左证，当局仍然不当一回事。近30年过去，Carl展开任务要与他称为「天空人」的外星生物再次碰面，一来证明当局的错误，二来要找到自己存在的目的。透过家庭自拍视频、新闻片段以及访谈视频的交错呈现，《天空人》（暂译，Skyman）是一部大胆、具有说服力，针对幽浮次文化的研究。

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.

末路姐妹花

抢走妹妹爱人的姐姐林大英，还亲自把妹妹林达贞关进精神病院里，她和尹泰镇过上了属于两个人的幸福婚姻生活，直到有一天，妹妹林达贞逃离了精神病院，和同为病友的助手赵勇焕一起合谋，对姐姐的一场凄惨复仇开始了….

勇敢的人

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色窑的爷们

琉璃瓦工厂内不同年龄阶段不同工作岗位的几位师傅们有着不同的人生经历及故事。他们自嘲是受苦人，在学业、事业、婚姻等方面抱有各自的遗憾。纵使工作枯燥收入微薄，他们也努力把生活过好，有人贷款买房，有人守候着小小家庭。他们普通的背景和辛酸的经历没有使他们自暴自弃，相反，他们苦中作乐，生活虽然平凡，却仍有些许温馨乐趣。

小飞象（国语版）

丹波是马戏团的一只小象，因为样貌与众不同——它长着蓝色的眼睛和一双大得出奇的耳朵——而遭到大家都取笑。有一天，一个淘气的男孩子甚至作弄了丹波，象妈妈十分生气，就教训了他一顿，因此被马戏团老板关进了笼子。为了在马戏团立足，救出妈妈，丹波必须马上学会一门拿手绝活。四出学艺的 它却又四处碰壁，心灰意冷之际全靠好朋友老鼠帝莫给了它鼓励和温暖。一次意外，丹波掉进了一个大酒桶内被灌得酩酊大醉，却因此意外发现了自己的拿手绝活。

半条命3：特种兵之战

毕龙身为李悠悠的保镖为了调查一直以来想要刺杀李悠悠的罪魁祸首，按照李悠悠的孪生妹妹杀手李刀锋临走时所留下的线索来到了一家情趣酒店，却发现了李刀锋的尸体，并被警察误认为是杀手进行追捕，毕龙知道是圈套只好摆脱警察逃走。　　逃走的毕龙接到了策划这次杀人案的电话，并且得知只有按照他所说帮他找到些东西才能摆脱杀人的罪名，毕龙只好按着他所说的做。　　李刀锋的情人杀手刀疤跟李刀锋一起被掳，经过了一番搏斗逃了出来，却因为看到看守的手机上有毕龙杀害李刀锋的信息，误以为杀害刀锋的凶手就是毕龙恼羞成怒开始了刺杀毕龙之路。　　警察找到李悠悠，李悠悠的得知了孪生妹妹李刀锋的死讯，却怎么也不相信是毕龙所为，警长林怡想从李悠悠作为突破口抓捕毕龙的计划随之落空，只好发布了全城通缉令。　　毕龙按照神秘人的指示到麒麟堂找过江龙，过江龙一改之前的态度，排兵布阵迎接毕龙，过江龙告诉毕龙自己很欣赏毕...

警察故事续集

英雄警察陈家驹（成龙 饰）又回来了。不过，性格火爆、直言不讳的他这次因为不满意上司放走了一个极其危险的重犯而和上司吵翻了，愤然辞职。脱离了警察生活的家驹和女友去旅行期间，一间电话公司遭到了炸弹恐吓，本性难移的家驹马上赶到了现场，着手调查案件。 　　岂料一波未平，一波又起。这个炸弹狂徒竟然炸毁了警局的大门，还绑架了家驹的女友，要求家驹携带大量赎款前往货仓交换人质。当家驹身带巨款抵达货仓时，发现这里已经布满了炸弹……

空手道2019

由经营空手道的爸爸学习空手道的少女“蔡英”和对自己的单亲妈妈生活的纯真正义的少年“钟九”和对一天的生活感到厌烦，为了新的开始而努力的“海星”相遇，通过空手道一起成长的青春动作片。

火云邪神之降龙十八掌

罗刹教将迎来新老邪神的传位之选，不料老邪神被黑羽会设计受伤，小邪神也危在旦夕小邪神来到围龙屋寻找救命之法，传说中的降龙十八掌再现江湖