十五岁的小镇少年除了上暑期班就是在街头巷尾闲逛，鲜有朋友。虽然跟随妈妈和哥哥生活可似乎并没有人真正关心他的需求。因为姨妈有事，少年不得不照顾来与他们同住的表弟本，然而表弟来的当天就发生了许多事情……
励志青年徐泽使用虚拟现实技术创业，沉浸在虚拟世界中的徐泽迷茫而躁动，美丽的甜甜接近徐泽，要骗取他价值不菲的虚拟货币。徐泽的真诚感动了滑向犯罪深渊的甜甜，也挽救了他们的爱情，他们携手一起投身于社会公益事业。
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.
故事发生在某女子监狱中。深夜子时，万籁俱寂，女囚周露（李佳 饰）面无表情地环视着阴暗的牢房，压抑着狂野的情绪，时间一分一秒过去，她像下定决心般把双手伸向了睡在一旁的另一位狱友。黑夜过去，白昼来临，在遭众狱友轮番凌辱后，周露被管教经纬带进了发泄室中。监房高处窗中射入刺眼的阳光，阳光穿透了周露伤痕累累的胳膊，那是她数次自杀未果的标记。对着墙上斑驳的镜片，她陷入痛苦难奈的回忆之中，冥冥间她似乎看到了早亡的父亲，以及那个沾血的洋娃娃，又似乎看见了继父那双伸向自己的魔爪，还有被逼的疯癫的母亲，随后又出现了向自己施暴的丈夫，周露彻底崩溃了......
Peter Capaldi’s final episode of Doctor Who this Christmas will feature Pearl Mackie as Bill Potts and be called Twice Upon a Time, it was revealed this evening (23 July) during a cast panel at San Diego Comic Con. Viewers will have to wait until Christmas to discover exactly how Bill, who will appear throughout the episode, makes her return.
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约翰（赫米尔·希尼·古纳森 Hilmir Snær Guðnason 饰）是一名风度翩翩的儒雅大学教授，虽然看上去一表人才，但实际上，约翰有过一段非常失败的婚姻，这段婚姻给他的内心里带来了挥散不去的阴...
在城郊的一座孤零零的房子中，一个十岁大的女孩迈出了从童年踏向成人世界的第一步。因为父母要去非洲参与一项援助项目，女孩必须和她的姑姑一起度过暑假。但是她的姑姑却并不可靠，尤其是在她外出时遇到一个男人之后，女孩决定自己照顾自己。 于是一段有苦有笑又有着众多考验的旅程就这样开始了。通过邻居和偶然路过这间房子的游客，女孩认识到一个荒谬的冷漠的成人的世界。由于长期和外界断绝联系，女孩变得越来越不能适应外面的世界。但是她仍然努力从书中，图画中，梦想中寻找着改变自己的方法
该剧改编自休豪伊所著同名畅销科幻系列小说，故事发生在一个反乌托邦未来，大约一万名人类在144层深的筒仓型地堡居住，他们被告知外面的世界因受到毒气感染而变得不适合人类居住，仅余的幸存者遂躲进地堡避...
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