热血最强

简 介 青年干探铁男（古巨基）在一次放蛇行动中认识了私钟妹Fanny（杨采妮），Fanny常对人说她有一杀手男朋友会来带她走。Fanny利用铁男过骨，铁男喜欢Fanny，甘愿被她利用，传说中的杀手（巫奇）回来了，他杀死了黑社会集团大佬并带Fanny离开，被黑社会包围，铁男谨慎地布署，应付危机。 幕后制作 英雄动作片的类型，细节丰富生动，人物充满趣味。人物性格出人意料，从铁男的成长故事中，引出恋情、友情、父亲情结，以及个人职业成长与勇气培养的话题。全片从男主角的主观角度出发，反映了男主角主观世界的一厢情愿。梁柏坚曾经与吴宇森长期合作，1995年起摆脱吴宇森的影子另起炉灶。梁柏坚开始独立执导影片起，便与在著名编剧陈庆嘉合作。《热血最强》在1998的香港电影评论学会奖上受到好评，陈庆嘉因此获得了第四届香港电影评论学会奖最佳编剧称号，该片也同时获得了第四届香港电影评论学会奖推荐电影奖。

寻找D女郎

金融精英林如君韬光养晦多年只为有一天能战胜自己的敌人江淮，因为十多年前，江淮背弃了友情和承诺，把林如君的父亲送进了监狱，林父在悲愤中厄然长逝，从此复仇就成了林如君唯一的目标。 林如君想通过收购千禧集团来打击江淮，江淮派出得意门生黄子洋，林如君和不知情的黄子洋逐鹿的战场正是千禧集团，林如君步步紧逼，黄子洋竭力捍卫，因为他在两年前曾犯过大错······ 两个都有心伤的人展开厮杀，黄子洋险胜后却发现原来真正想收购千禧集团的是江淮，所有的一切只是他渔翁得利的布局。不愿丧失良知的黄子洋和林如君联手，最终打败了江淮，让其身败名裂，同时林如君也领悟到了人生的真谛：人的价值从来不需要金钱和权势来衡量！

盗掘

李帝勋有望出演犯罪题材新片[盗掘](도굴，暂译)。该片由[我的父亲]、[熔炉]副导演朴正裴执导，将以市中心盗掘展开故事。

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.

爱神城堡

两位美丽的女性游客在欧洲的时候发现自己的钱用完了。他们开始在一个神奇的城堡里工作，在那里男人们来实现他们的幻想。

中国大学生五人制足球联赛（女子组总决赛）湖北中医药大学vs青海师范大学 20231130

冰上火

这部深具启发性的纪录片说明在地球各个层面过多的碳排放对现代的影响，同时探索人们能够降低碳排放以及「减少」目前过多排放量的方法。本片到全世界九个国家中拍摄，造访不同年纪的前瞻者与科学家，虽然地球正快速的暖化，他们仍致力于寻求各种方式减缓气候变迁，使气候相关的问题降至最低。

常磐庄的青春

20世纪50年代，二战结束，百废待兴。众多志愿成为漫画家的年轻才俊云集东京，渴望画出大受儿童喜爱的作品。生活拮据的他们来到常盘庄，这个由手冢治虫坐镇的漫画家圣地，寺田广夫（本木雅弘 饰）正是其中一员。与之比邻的还有安孙子素雄（鈴木卓爾 饰）、藤本弘（阿部サダヲ 饰）（日后共用笔名“藤子不二雄”）、石森章太郎（さとうこうじ 饰）、赤塚不二夫（大森嘉之 饰）等人。生活虽然清贫，但他们为了共同的理想仍不懈努力着……本片根据日本漫画界的真实历史改编。常盘庄位于东京是丰岛区南长崎三丁目，始建于1952年，于1982年因老化而拆除重建。被称为漫画之神的手冢治虫最早入住于此，后来一度成为青年漫画家们的聚集地，最多曾有7、8名漫画家在此居住作画。

洛杉矶的夜晚

亚特兰大第二季

FX新喜剧《亚特兰大》早早就续订了第二季，不过因为主演Donald Glover要参演《星球大战》Han Solo外传电影（饰演要角Lando Calrissian）的关系，该剧在TCA上宣布17年不会有第二季，要推迟到18年才播出。

梨花情

本片以大学生“村官”陈大毛创建梨乡风情酥梨生态园为故事背景，以陈大毛和林静、姜丽娟之间的爱情矛盾为主线，讲述了陈大毛为酥梨之乡探索科学致富的创业历程和感情纠葛……

红草滩

1941年秋，占据安西的军阀尕司令预感自己即兵败，在星星峡抢劫了大批运往内地的新疆各界民众募捐的抗日物资，幸在鲜为人知的红草滩，以备东山再起。伤痕累累的尕司令逃脱了追匪化装成迷路的商客，被荒墩爷收留。渐渐养好伤后，他来到红草滩准备挖出埋藏在这里的财物时，却发现早已被荒墩爷挖走，顿时凶相毕露与荒墩爷展开博斗，最终尕司令被打死。哈娃子和沙红按荒墩爷的遗嘱将财物送到了设在迪化的八路军驻新疆办事处，粉碎了军阀司令东山再起的阴谋。