地震学家杰克与未婚妻凯伦前往湖边小镇度假，却意外在湖边发现一具焦黑的尸体及疑似爆炸烧毁的游艇残骸后，原来不远处因开採疏失意外挖掘出了一条埋在地底深处的鋰矿脉，鋰矿只要一接触到水就会马上引爆火焰，而这条矿脉竟然就埋在湖底下！ 小镇地底四处窜出致命毒气，引爆无坚不摧的炬火，正当军方下令封锁此地区时，赶来支援的两名科学家─也是杰克的好友却因爆炸引发的地震身陷鋰矿坑内！杰克深入地底救援，他必须赶在爆炸前阻止这场浩劫，拯救小镇村民的性命。
中学教师沈东宝（贺军翔 饰），因为梦见自己获得国际最佳导演而立下誓言，立志要拍摄一部国际水准的大片。沈东宝开始为自己的“大片”拉投资找赞助，最终通过七大姨八大姑凑够了五万多，在找资金的同时沈东宝也在寻找适合的演员。无意间他碰到力争上位梦想成为大明星的千千（江若琳 饰），最终在她的百般献媚中，沈东宝敲定了这个女主角。刘易守知道沈东宝的计划后，一番赞扬和鼓励，让沈东宝眼前一亮，觉得终于找到了一直寻觅的事业拍档。而刘易守此时的目的，是想方设法地想骗走电影资金远走高飞⋯⋯
Tara热爱家庭，但总感觉被束缚，无法使生活充实。家人和朋友对于她的沮丧情绪并没有给予回应和帮助，Tara决定离开丈夫和孩子，开启发现自我的旅程。
’TheChariot’tellsthestoryofacorporationanddoctor(JohnMalkovich)thatoverseestheprocessofreincarnation,andayoungman(ThomasMann)whobecomesaglitchinthesystemwhenheencountersawoman(RosaSalazar)helovedinapreviouslife.
《面具》以中共在哈尔滨解放初期的反特行动为时代背景。1948年腊月初一，在哈尔滨潜伏十年的军统特务李春秋（祖峰 饰）突然被唤醒，要求执行“黑虎计划”。李春秋十年的平静生活被彻底打乱，关于信仰的抉择、家庭的责任、情感的归属，极限境遇加之一身，经过一系列惊心动魄的斗智斗勇， 他最终看清了国民党特务机关的血腥残酷，在共产党人的感召下弃暗投明，实现了信仰从忐忑到觉醒的蜕变。
许愿（夏雨饰），北京潘家园小古董店"四悔斋〃的老板，古董鉴宝界最具权威的"五脉梅花"家族之一许家，唯一的传人。为了楸出隐藏在五脉之中的〃老朝奉〃造假势力，许愿孤身一人入局破局，与 庞大的古董造假集团展开层层较量，却被设局指引牵扯出两幅《清明上河图》真赝难辨的惊天秘密。随着迷局的层层解开，境外神秘的造假势力也浮出水面，而这些竟然都与当年许愿爷爷的护宝冤案有着千丝万缕的关系。为了查出前世真相，许愿再度联手投靠于"老朝奉"的药不然（魏晨饰），但不曾想这所有的一切都尽在老朝奉的掌握之中，而老朝奉势力的背后还藏着更大的谜团。
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.
本片根据英国作家狄更斯1838年的名著《雾都孤儿》改编。
深圳卫视城市魅力竞答探寻节目《你好，来了》官宣，该节目将全方面地展示深圳的城市风貌和特色，宣传推广深圳包容多元文化的城市的形象以及人才观。
20 岁的林森是女大学生，父母经营诊所，母亲因牵涉医疗事故必须向病人赔偿；她为了帮助母亲筹款赔偿，化名“小雨”，瞒着家人偷偷去赚钱。林森跟男友参加聚会时，感到乳房胀痛，发现自己怀孕了。她将这事隐瞒男友，并说服母亲和索偿的病人，让她化名“银芳”将孩子生下来，代替金钱作赔偿 。林森怀孕快十个月，即将临盆；这时春节已临近，疫情爆发，林森在家隔离时，男友突然来找她，没想到他的要求竟是……
明末，昆仑派弟子马君武上路找寻一本可以号令天下之归元秘籍，而途中邂逅骑着仙鹤、善发神针之白云飞，互生情愫。但武又被两位师妹及天龙帮苏飞凤痴缠，武周旋当中，不亦乐乎。此外，各派高手纷纷涌至争夺秘籍，而满清九贝勒萧俊竟也潜入中原，并夺得号令武林之金牌，迫各派归顺，武乃联合身边红颜知己，与俊对抗，号召武林联手抵挡外敌入侵。
埃里吉奥（盖尔·加西亚·贝纳尔 Gael García Bernal 饰）是一个非常大男子主义的人，在和妻子苏珊娜（薇洛妮卡·恩切圭 Verónica Echegui 饰）的日常相处过程中，他事事都要说了算，处处都要高苏珊娜一头，随着时间的推移，一再忍让的苏珊娜终于决定反击，她的方式是毫无预兆一声不响的离家出走了。 实际上，埃里吉奥是非常的爱自己的妻子的，只是他的性格令他不知道该如何表达自己的感情。埃里吉奥踏上了寻找苏珊娜的旅途，却愤怒的发现，离开了自己后，苏珊娜似乎和一个名叫斯拉米尔（比约恩·西鲁·哈瑞森 Bj?rn Hlynur Haraldsson 饰）的诗人打得火热。经过了重重的波折，埃里吉奥和苏珊娜好歹是复合了，但他真的能改掉自己的臭毛病吗？