这是一部充满勇气与成长的故事，主角以善良和热爱迎战生活的种种变故，充满面对生活，迎接扑面而来的挑战，以主角牵动人心的身世背景，拉开故事构架，在还原真相的过程中，主角始终保持内心的善良，以不变的初心迎来成长的蜕变，弘扬新时代女性的坚韧风采。合约爸妈”在剧中存在两层含义，其一为主角孟飞扬自幼长大的福利院，在“院长妈妈”年事渐高，力不从心之际，孟飞扬坚决地承担起守护福利院的重任，以自身幼年在这个特殊“家庭”得到的关爱，身体力行地反哺于社会，以建造福利院大楼为目标，踏上主角的励志之路。其二为孟飞扬在得知小男孩“浩天
电影《终极硬汉》讲述了一个跨境非洲的冒险故事。 安琪所在的勘探队在非洲挖掘到一枚超能量石，居心叵测的国际军火走私团伙得知该消息后，奔赴非洲意欲抢夺。退伍特种兵韩锋在非洲沙漠为了拯救持有超能量石逃窜的安琪，意外被卷入与国际军火走私团伙的斗争之中。
以失忆落跑新娘寻找失落爱人为线索展开，讲述男女主人公共同寻找爱情记忆，从而引发的一场关于抉择与救赎的寻爱之旅。故事跌宕起伏，一波三折，既幽默搞笑，又感人至深。
影片以清光绪十八年钦加同知衔正五品知县章炳焘为主人公，生动地描绘他在内乡为官九年，用自已的聪明和才智同内乡商会会长郑弼金为代表的地方邪恶势力做斗争，保护了内乡的穷苦百姓，利用地方绅商的银两修建了融大江南北风格于一体的县署衙门，使内乡的百姓有了申冤说理的地方，为老百姓创造了一个民心稳定、太平盛世的良好生存环境，同时公正廉明的他也得到内乡百姓的尊敬和爱戴。 西部电影集团西安电影制片厂
When Umma wants a new dishwasher, Appa’s determined to get the best deal. Janet adopts a new ysgou.cc name as Jung tries to get his job back at Handy.
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.
在冷战白热化时期，在社交圈声名不佳的华德喜欢上年轻天真的歌舞女郎莉丝，并决定将她塑造成耀眼而世故的名媛；不久后莉丝便成为苏俄海军随员尤金伊瓦诺夫，及英国国防部长普佛墨的亲密朋友，当这桩秘密韵事被媒体揭露后，所有相关人物都不得善终普佛墨辞职、莉丝入狱、伊瓦诺夫被遣返、而华德也因仲介卖淫的罪名遭到起诉。
1938年日军侵略者占领了邯郸后，在邯郸肆意虐杀百姓，并大规模修建炮楼。一位名叫碾子的12岁少年，在亲历了日军的暴行后，化悲伤为力量，暗自和比他大7岁的媳妇傻凤，与日军、汉奸斗智斗勇，最终在共产党八路军的带领下，成功将炮楼炸毁。
新生代赵让&李鑫一与专业潮流大咖共同组成限时潮团，通过趣味场景任务挑战，帮助那些有着穿搭烦恼的女孩们一起撕掉标签，击败刻板印象，在日常生活场景穿搭找自己的潮态度，展现自信独立之美。