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.

　　小镇上的三子有个沉闷的家庭，他暗恋上打字复印店的女孩。女孩进城打工了，他讲述自己痛苦的爱情，感动了给老板开宝马的发小马海，决定趁老板外出开车带他进城......

　　导  演:李南　　编  剧:魏新玲　　主  演:赵子璇、阿曼太、阿克坡塔、叶尔纳•巴哈提吾尔旦、法蒂哈　　片  种:美术片　　出品单位:中国电影家协会影视创作中心、北京方盛广告...　　长  度:79分钟　　出品年代:2007　　剧情简介　　这是像宝石一样美丽的地方，格黑里牙。　　　　叶尔肯，一个12岁，有着少年赛马冠军称号、带着倔强表情的格黑里牙孩子和他的妹妹阿娜尔以及他的小伙伴阿拜、努尔江认识了从城市里来的同岁的漂亮女生佳佳，佳佳背着巨大的行囊从很远的城市自身一个人来到这里，她甜甜的笑容，她魔法一般能让人扭动的随身听，她随时随地都都不离手的DV摄像机，以及她没完没了地拍摄枯死的胡杨树……这一切都让他们觉得既新奇又不解，正是因为生活环境和观念的差异，互相之间的不理解变成了相处中的摩擦和冲突。　　　　为了筹款买DV摄像机拍摄胡杨树，佳佳卖掉了自己心爱的书，又把没卖完的书带到格黑里牙，用便宜的价格租、卖给小朋友，然而，在叶尔肯的想法里，“好东西就该大家共享”，他看不惯佳佳租卖书籍的行为，两人因此发生了激烈的争执，僵持不下的时候，叶尔肯气呼呼地离开，回来的时候带来300元钱，他要把佳佳的书全部买了下来。　　　　然而佳佳并不知道，这300块钱是叶尔肯卖掉自己养的羊换来的，他打算将这些书开办一个让小朋友免费读书的阅览室，而这头羊，原本是叶尔肯打算养到寒假的时候再卖掉，筹集路费和妹妹一起去看望在边疆哨所的父母，现在却被提前卖掉了，为了帮助叶尔肯，好朋友阿拜以及努尔江都义气地拿出自己全部的零花钱。　　　　随着叶尔肯和佳佳的矛盾日渐加深，叶尔肯的妹妹，能歌善舞的小姑娘阿娜尔却像小尾巴一样和佳佳形影不离，佳佳还把自己的随身听送给了阿娜尔，阿娜尔欢天喜地，宝贝似地成天带在身上，阿拜有点眼红，想法设法借到手，又转给努尔江和叶尔肯听，不料随身听却突然不响了，三人束手无策，叶尔肯决心带阿拜、努尔江上山采药，卖了钱买一个新的赔给佳佳。　　　　采药途中，三人意外碰到一头被偷猎者射伤的小马鹿，叶尔肯将它带回家养伤，然而却被打算前来参观阅览室并归还叶尔肯300元钱的佳佳发现了，误以为是叶尔肯他们打的，矛盾再一次迸发。对叶尔肯产生误会的佳佳，想法设法要救出小马鹿却都未能如愿，最后，她打算自己制造一次“失踪”，让叶尔肯为找不到她而着急，并借此与叶尔肯谈判放归小马鹿，她一个人来到了“三北防护林”，在这里，她意外遇到了来格黑里牙的巴士上认识的大姐姐，从她口中，她知道了一个发生在大姐姐以及叶尔肯的爷爷、著名的哈萨克族老伐木工卡日木身上的感人至深的故事……　　　　这是一部环保题材的儿童故事片，汉族孩子和哈萨克孩子相遇在这云高风清、绿染天地的新疆土地上，他们互相好奇，互相关爱，又互相闹别扭，就在他们因为文化环境差异产生的小小冲撞的插曲之中，孩子们纯洁的心灵弥散出一阵阵温暖的芬芳。整个影片风格清新，然而在孩子明亮的眼睛里，却可以听到民族团结以及人与自然和谐的音符，又透过他们的眼睛，看到一片受过伤如今依然郁郁葱葱的原始森林，一片新生的绵延不绝的“三北防护林”、一片焕发出顽强生命力的古老的胡杨林，感受自然带来的震撼与启迪。

　　单亲妈妈Violeta，是一个下岗护士，她处境艰难，不得不去照顾一个卧病在床的老人。为了保住这唯一的收入，她什么都做得出来......影片描写了阿尔巴尼亚底层人民的挣扎，发人深省。整部电影谋篇布局很成功，演员的表演也出乎意料的好。

　　日剧《绝对会变成BL的世界VS绝不想变成BL的男人》宣布第2季制作决定，本作将于2022年3月播出。　　Staff　　原作：紺吉「絶対BLになる世界vs絶対BLになりたくない男」（祥伝社）　　监督：三木康一郎　　脚本：川崎いづみ　　音乐：小山絵里奈　　制作协力：ファインエンターテイメント　　制作著作：テレビ朝日　　Cast　　犬飼貴丈、ゆうたろう、伊藤あさひ、塩野瑛久、和田颯（Da-ice）、猪塚健太、井手上漠、矢部昌暉（DISH//）、定本楓馬、砂川脩弥、瀧澤翼（円神）、池田匡志、富樫慧士、平井雄基、桑原勝、大平修蔵、A.rik（円神）、庄司浩平、小林亮太、坪根悠仁

　　电视剧《我们队伍向太阳》首次将镜头对准了建国初期南下工作团西南征粮这段历史。身为四野侦查科科长的郑大，阴差阳错地被安排到南工团任分队副队长，与队长傅由理、女领导方圆、学员乔可舒、逃难中的国民党将领之女不男相遇，他们在学习工作、执行任务过程中发生了一系列相互交错的情感故事，由此拉开了一幅特定历史背景下可歌可泣的人物命运画卷。　　本剧力图通过郑大、傅由理、方圆、乔可舒、不男等人物身上所释放的性格魅力和人性力量，真实可信地再现那个时代革命军人成长、成熟的历程，展现他们为了民族为了共和国不惜一切，勇于奉献和自我牺牲的精神伟力。这种精神，是人性之大，是正义之美，是民族集体性格的升华，是这支人民军队力量的来源，更是那些为我们共和国奠基的前辈们最值得敬仰的品质！

　　小剧场演员樱井武史（堺雅人 饰）奋斗多年始终未见出头天，穷困潦倒，情场失意，绝望至极的他连自杀都不成功。无奈之下，他只得进入大众浴池洗澡，谁知却阴差阳错用一枚香皂滑到了某个陌生男子。男子倒地晕厥，樱井则鬼迷心窍偷走了对方的储物柜钥匙，从此化名近藤，过起了从来不敢企及的富贵人生活。然而令他怎么也想象不到的是，近藤（香川照之 饰）竟是一名名震黑道的冷血杀手。在此之后，樱井不得不接手来自黑道的委托，硬着头皮干起杀人的营生。与此同时，从医院醒来的近藤失去记忆，误以为自己是走投无路的樱井。在偶然结识的美丽女性水岛早苗（广末凉子 饰）的帮助下，他一点一滴重新认识作为演员的自己，苦苦探索前进的方向，在此过程中他和早苗的内心也悄悄发生变化。而当他的记忆恢复那一刹那，三个人的命运也由此纠缠到了一起……　　本片荣获2012年日本电影旬报十佳影片第八名。

　　四川偏远山区的女教师小璐（秦海璐饰），自出生起就生长在黄河边，单纯质朴。一天，正在给孩子们上课的小璐被校长叫出去迎接外宾。这支专程从香港来到这里为孩子们注射疫苗的医疗队，受到了村里的热情款待。而温文尔雅的年轻实习医生小东，更是给小璐留下了深刻印象，小璐芳心暗许。当医疗队完成任务返港时，小璐乘坐的客车意外翻倒，恰巧被医疗队救出。此时，小璐完全被细心体贴的小东打动了，认定小东就是自己的白马王子。可小东和小璐终归是生活在两个世界的人，而且小东也有了女友。然而小东突然被诊断出患了癌症。万念俱灰的小东断然与女友分手，随小璐来到了黄土高坡。小璐无微不至地照顾着小东，甘心陪他走过人生的最后日子。然而小璐等来的，却是一段还未开始便已结束的孤单爱情。

　　韩星贤（李政宰饰）搬到一个海边小屋，他为房屋取了一个意大利文的名字“Il Mare”，意思是“海”。整理房子时，他在信箱发现了一封内容很奇怪的信，信上写着“我是你搬来前的上一个房客，如果有收到我的信，请寄来”，更奇怪的是这封信寄出的日期是在1999年，也就是两年后——而星贤现在的时间是在1997年。星贤就立刻回信给这莫名其妙的人，询问是怎么回事。　　1999年的金恩珠（全智贤饰）是个配音员，她发现回信的内容后，就开始常常写信给两年以前的星贤。男朋友去美国后已很少和她联络，后来他从美国回来，却已订婚。心碎的恩珠写信给星贤，拜托星贤到当年她和男友最后见面的那一天，去改变他们的命运，但星贤觉得很痛苦，因为他已爱上了恩珠……