广东卫视《国乐大典》第四季将于12月24日起每周五晚播出。节目内容围绕中国民乐主题展开，打破常规器乐节目之中只有乐器演奏的传统，将经典的国乐作品重新配器编曲，糅合戏曲、舞蹈、吟唱、吟诵、话剧、诗赋等多种文化元素进行全新改编。新一季节目继续聚焦“才貌双全”的国潮乐手，导演组奔赴全国13座城市进行线下招募，面试了500多位乐手，甄选出近100位候选人。
故事讲述鹰野调到搜查一课公安部，挑战解开模仿埃及神话的猎奇杀人事件真相。警视厅公安五课的警部补冰室沙也香（松雪泰子 饰）为主角（青木崇高 饰）的学长，也是佐久间班的成员，由于某种原因与其搭档而引人注目，并且还与内部间谍S合作。
As the staff of Good Friends Church Camp prepares for a spring break filled with "Fun Under the Son", a demon logger rises from his sap boiler to wreak his vengeance and feast on flapjacks soaked in the blood of his victims.@www.molikan.com
野心勃勃的律师库伦（比尔普曼）即将成为联邦法官，却不智地在得到奉派之前喝酒误事，强迫新来的秘书苏菲（嘉柏莉安沃）与他在办公室内发生性关系。另一方面，有前科记录的青年纳森（戴文沙瓦）决定进城见见他素为谋面的生父--库伦；在纳森尚未来得及对库伦表明身份前，这对父子见了面，不知纳森身世的库伦竟向儿子提议，欲雇用纳森去杀向他勒索的苏菲；纳森拿著装满钞票与一张照片的信封后离去，向朋友提起此事后便将信封丢弃。不料，朋友之中有一位亟需现金周转，因而将信封捡了回来，决定「拿人钱财与人消灾」，杀了照片中的女人；纳森能及时阻止友人犯下大错吗？
在交通极其困难的山区，某部铁道兵来山区修筑铁路的消息传来，老铁匠黄铁锤虽然超过了招募民工要求的年龄，也固执地请求参加修铁路的工作。他的女儿黄丽英也要去参加，他却不同意。待黄铁锤走后，丽英也偷着去了。黄铁锤参加了铁工组，由于思想保守，单纯强调保证质量而忽视了数量，生产进度比别人慢，他的小组因此没能完成竞赛指标。女儿丽英所在的土工小组的成员们，想办法进行技术革新，发明了飞箱运土法，大大提高了工作效率。后来，黄铁锤在老战友铁道兵陈团长的启发和女儿先进事迹的感动下，也有了进步。
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.
影片讲述在1975年印尼入侵东帝汶期间，五名澳大利亚记者被枪击的事件。本片实际上是通过第六位澳大利亚人的视角来讲述，罗杰·伊斯特是那场灾难中的幸存者。 幕后制作 “巴里布五人组”事件仍是困扰澳大利亚与印尼之间的阴影。34年前，五名澳电视记者尝试拍摄印尼入侵当时葡属殖民地东帝汶时丧生，而此事未得到官方妥善解决。于2009年公映的影片《巴里布》引起了澳方对此事的再次关注。 五名记者于1975年10月死于印尼边陲小镇巴里布，遗体不久得以下葬。印尼方一直称这五人是在印尼士兵与独立战士的交火中丧生的。尽管此种解释曾遭死者家属的强烈不满，澳方出于维持两国关系的考虑，从未对此说法有过任何质疑。 澳方对此事的缄默态度两年前才被打破。新南威尔士州的一名验尸官发现五名记者是被印尼特种部队战士蓄意杀害的，而这是上尉Yunus Yosfiah的命令，为了阻止他们披露印尼对巴里布的袭击。澳大利亚总统凯文·路德（时为反对党领袖）立即回应道，“对此有责任的人应付出代价”。这份报告仍旧由警方保管。 影片《巴里布》艰难地重述了五位记者的死亡事件，故事是以第六位记者罗杰·伊斯特的视角展开的。罗杰去追查前五位记者的情况，不幸在印尼部队到达帝力时遭枪杀。年轻的记者们正在某地冒险拍摄，其与外界的联系不久就被切断了。当印尼部队逼近时，五人组成员之一的格雷格·沙克尔顿为了保命，在一面墙上勾勒下澳大利亚国旗。影片导演罗伯特·科侬利称，他拍此片不仅要揭露记者们以及数以千计的东帝汶人的无辜死去，还要表达完全混乱状态下国家标志是毫无意义可言的。 国际法律专家本·索尔则表示，既然秩序得以恢复，巴里布五人的死因应被追诉为战争罪而开庭审判。克诺利则希望印尼和澳大利亚双方终将一丝不苟地对待事实真相。然而，由于双方关系从未得到改善，加之印尼一直不愿调查苏哈多1998年之前独裁时的种种不良事件，这一真相也许终将不见天日。
在卡秋莎的婚礼上，一个女人大闹婚礼现场，并说她的丈夫最爱的是她，现场乱作一团。卡秋莎对此耿耿于怀，一直走不出阴影，她的朋友们多方劝解，希望她能放下过去，开始新的恋情……
上世纪六十年代初，为减少京津冀地区的风沙危害，国家指定由林业部和河北省在承德境内高原荒漠塞罕坝上建立机械林场，抵御浑善达克和科尔沁沙地南侵。以主人公冯程、覃雪梅等为代表的第一代造林人——来自全国18个省市的林业大中专毕业生与林业干部职工为骨干的369人开荒队伍，带领当地干部群众拉开了与自然抗争的序幕。 岂料，因造林立地条件恶劣机械造林失败，转为人工造林。他们在平均海拔1500米、最低气温超过零下43度的环境下，在长达半个世纪的时光里，战严寒、斗酷暑、抛青春、洒热血，营造起“世界上最大的人工林海”，筑牢京津冀绿色生态屏障，拱卫京津冀蓝天，在荒凉的塞罕坝上，冯程和他的伙伴们同进退，共患难，也收获了友谊和爱情，谱写了壮丽的人生诗篇。
分为 鸳鸯梦，花轿鬼新娘
富婆、老公、养女、小白脸四个人的混乱情感，互相都有一腿的故事。看看假妈在这个剧里的演绎完全不一样的人设！原本庄严肃穆的场合，给爱妻擦汗看似羡煞旁人的爱情，却掉出了别的女人的丁字裤是一不小心，还是刻意为之？