Henry（科林•汉克斯 饰）有个不修边幅的胖母亲（梅格•瑞恩 饰），他成为联邦调查特工再次回到家中，他被母亲的改变下了一大跳。母亲变得窈窕而富有魅力，性格也变得开朗乐观，就连名字都改成了Mathy。 Henry带回的未婚妻Emily（塞尔玛•布莱尔 饰）与Mathy相处甚欢，只是Henry对于母亲的改变无所适从。正当Henry努力适应母亲的改变时，一名潇洒的男人Tommy（安东尼奥•班德拉斯 饰）走进了母亲的生活，他们发展迅速。Henry竟发现这名Tommy跟一个艺术品偷窃团伙有关，Henry面对母亲与事业的发展，再次陷入两难，最后他还是同意上司在自家安装偷听器。 他们一路调查Tommy，更把真相告诉了Mathy。Tommy与同党想尽办法偷取了雕像，Tommy却被同党抛弃了。他马上想到了危险的Mathy，他只好向Henry说出自己的真实身份，一起合...
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.
黛安娜跟保罗的婚姻非常幸福，但她仍不知足，喜欢进行短暂的性冒险，并且把这些偷鸡摸狗的事告诉丈夫。这非但没有破坏他们的婚姻，反而增加了其中的刺激。有一次，她跟诗人阿尔方斯开始一场暴风骤雨式的恋情，结果丈夫认为她越界，便不再理她。她索性一不做二不休，一头扎进一场疯狂的群交，连她姐妹和好朋友也给拉了进去
本片讲述了意大利黑手党格莫拉的5个故事：13岁男童托托（萨尔瓦多•阿布鲁兹Salvatore Abruzzese 饰）近墨者黑，逐渐堕落；马可（马可•马克尔 Marco Macor 饰）和希罗（希罗•帕冲Ciro Petrone 饰）一心想称霸，结果横尸街头；因为丈夫涉黑，妻子玛利亚（玛利亚•纳棕娜丽 Maria Nazionale 饰）锒铛入狱，她把孩子托付给帮派同伙弗兰克（托尼•瑟维洛 Toni Servillo 饰）；黑帮老会计唐•希洛（吉安法利斯•因巴拉多Gianfelice Imparato 饰），因出卖朋友，命丧黄泉；黑帮纺织厂的裁缝帕里跨斯（萨尔瓦多•坎德鲁普Salvatore Cantalupo 饰）因给华人上课而引火烧身……
本剧是一部以“癌症”为主题的全新原创医疗剧。为了与任何人都可能患上的癌症对抗，2位女医生组成内外科最强组合，刻画了当下的癌症专家们不断战斗和苦恼的故事。
THE FRENCH DROP—Investigating a suspicious death, Foyle gets caught up in the rivalry between the established spy agency MI5 and the newly created SOE. ENEMY FIRE—Sabotage, murder, and adultery at a pioneering RAF hospital brings Foyle face to face with the devastating physical and emotional consequences of war. THEY FOUGHT IN THE FIELDS—A murdered farmer and the crash landing ...
取材于李力的作品《爱的是人，不是职位》。星期日，傅萍照例将自己打扮得特别漂亮。她在琢磨，与谁去约会呢?想起大学生黄山，长得倒是年轻漂亮，可惜还是个学生，傅萍心中不免有些惋惜。想起电影制片厂职员白浪，比黄山阅历深，条件也比较好。终于，她选上了白浪。在公园里，白浪兴高采烈地会见了傅萍。傅萍本打算先痛痛快快地和白浪玩半天后再去逛百货公司。谁知事不凑巧，一进公园就遇上了黄山，无奈只得三人同游。不久，傅萍遇上了老实、拘谨的费科长。对科长，傅萍当然是另眼看待，于是，傅萍用巧计将黄山、白浪支开，自己…
该片披露了美国“棱镜”项目曝光者斯诺登从香港前往莫斯科的诸多细节，包括他在香港与卫报记者会面的过程。纪录片导演介绍，该片披露了美国“棱镜”项目曝光者斯诺登从香港前往莫斯科的诸多细节，包括他在香港与卫报记者会面的过程。当时，他们接头的暗号之一，是斯诺登手里的魔方。纪录片通过情景再现的方式向观众介绍了许多不为人知的细节，曾为斯诺登提供过帮助的关键人物首次详细披露整个过程。影片内的受访对象包括美国前国家安全局局长迈克尔海登，维基解密创始人朱利安·阿桑奇等，也包括斯诺登的父亲。
佐和子（黑木华 饰）和俊夫（柄本佑 饰）是一对结婚多年的夫妻，两人曾经都是漫画家，然而如今俊夫放弃了自己的漫画事业，只是给妻子做助手，而佐和子的事业则蒸蒸日上。负责佐和子的漫画的，是一位名叫千佳（奈绪 饰）的年轻编辑，实际上，千佳和俊夫之间有着不伦的感情，佐和子一直被蒙在鼓里。 佐和子的母亲在意外中伤了腿，于是佐和子和俊夫回到了老家暂住，在那里，佐和子报了驾校想要学开车，与此同时，她也开始了以驾校为题材的新的漫画创作。俊夫偷偷看了佐和子的漫画，发现漫画中发生的事情和现实里一一照应，而在漫画中，女主角和驾校的老师之间开始了一段恋情，那么在现实里，佐和子是否背叛了俊夫呢？
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