老少咸宜、寓教于乐的《腌黄瓜先生》惨遭第四季预定，2019年11月17日首播。
1984年的东德，整个社会笼罩在国家安全局的高压统治之下，特工魏斯曼奉命监听剧作家德莱曼及其女友演员克里斯蒂娜的生活，监听过程中，魏斯曼渐渐对这家人的生活产生了兴趣，开始暗中帮助他们一篇刊登在西德《明镜》报上的文章引起了特工头目的注意，他们认为这篇文章是德莱曼写的，并逮捕了克里斯蒂娜，希望能够从她口中得出她丈夫的秘密？而审问克里斯蒂娜的正是魏斯曼……
宋佳是一个地道的北京丫头，是个开韩国服饰店创业中的北京丫头，还是个麦霸，在她的生活中，每天都循规蹈矩的活着，进货，调货，卖货以及每周的ktv聚会。她的好姐妹高美莉一直想给她快点找个男朋友，在一次ktv的聚会上，同样单身的司仪青年宋爽因为名字和她太接近了，被朋友们笑称为一对，在传纸条的游戏钟，两人互生好感。聚会结束后，由于宋爽不胜酒力，被宋佳和高美莉抬回家，两个人的命运从此交织在了一起。在一次次的交往及一次次的ktv聚会中，宋佳与宋爽互相越来越了解对方，终于交往在一起，原本幸福快乐的两个人却因为双方的青梅竹马及前任男友的出现，而又瞬间冷战。宋佳的前任和宋爽的青梅竹马各自使出了各自的招数让两个人误会越来越深，而两个人也默默的承受着爱与不爱的抉择及压力。在高美莉和球球的帮助下，宋爽全心全意的为宋佳举行了一个私密ktv告白仪式，努力的学习并唱出了一首《小情歌》，向宋佳告白，与宋佳甜美的走到一起……
《黑客悲情》影片讲述一个悬念重重而又情感纠葛的故事。一个普通的早晨，宏大证劵交易所在短短几秒钟时间，所有交易系统崩溃，同时大笔金额瞬间蒸发。随即，某银行又收到匿名来信，信中扬言要使用黑客破译将全市所有金融系统破坏。警方设立专案组，并请来国际反黑客教授司马一啸。他们在网络中与犯罪集团展开了惊心动魄的激斗，却发现事情并不是简单的黑客游戏。一幢幢离奇事件的发生与司马小姐的神秘失踪，让司马教授望而却步。到底在金融界隐藏了怎样的秘密？网络黑客又是谁在操控？这个原本安详的城市，在一个看似平常的早晨被划出了一道密缝，并被人们越挖越大。
经过16岁绚烂的夏天之后，这条神奇的牛仔裤一直轮流陪伴着卡门、堤比、莲娜和布莉姬四个挚友，她们把各自的经历作为图案绣在牛仔裤上，相互传递和分享着彼此的心路历程。3年时间过去了，四个女孩子进入了不同的大学，有了新的朋友，大一暑假即将来临，新的奇遇正在等着她们。 这个夏天，布莉姬（布蕾克•莱弗利 Blake Lively 饰）跟着考古队去了土耳其，一边探寻古迹一边不断询问自己的过去，陷入了失去妈妈的悲痛。莉娜（阿丽克西斯•布莱德尔 Alexis Bledel饰）与希腊男友分手以后，在学院里遇到了一个心动的男孩，犹豫要不要开始新的恋情。堤比（爱波•塔布琳 Amber Tamblyn 饰）为拍摄电影而忙碌着，与男友的关系进入敏感阶段，不自觉陷入了对爱情的恐慌。卡门（亚美莉卡•费雷拉 America Ferrera 饰）因为朋友们暑假的缺席，加上妈妈为迎接新生命的无暇顾及，接受了去做戏剧节的幕后工作人员的邀请，期间不但被英俊男主角所关注，甚至还被推荐为女主角。这个夏天，将给四个女孩子带来更多惊喜……
少年水生和哑巴父亲从大山里移民到沙河村。由于生长环境不同，性格内向的水生一时难以适应新的班集体。失落的他和患有小儿麻痹症但性格开朗的半截儿成了好朋友在共同的学习生活中，孩子们虽然经常发生磨擦、碰撞，但经过一段时间之后，他们终于消除了误解，愉快地融合在一起。
内详
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.
在广东深圳打工的琼海人林美(化名)，深圳xin奴5年前遭遇一场噩梦：她被一名湖南籍男子廖某某挟持到宾馆强暴后，被囚禁在出租房里成为xin奴。林美逃回老家琼海后，廖某某追到海南，再次把她挟持到海口一宾馆强暴并毁容，之后还伙同他人在琼海砍伤林美一家五口后逃逸。随后，廖某某改名换姓，后在广东深圳xin奴砍伤他人被判刑。刑满释放后，廖某某到广东一家工厂当保安。在今年的清网行动中，廖某某被琼海警方抓获。
《@互联网人》，是一部以互联网职场生活为背景，描绘互联网人的真实肖像的电影。产品经理KB，原本带的产品“企鹅在线”正顺风顺水、稳步发展，突然有一天，他接到部门老大的电话，让他去一个新项目团队进行封闭开发。于是他忍痛告别旧产品，去新项目会议室报道。新成员们也都是从各部门抽派过来的“极品”，于是在那小会议室里，一场充满欢笑又让人感动的故事即将上演…\r\r这是一个关于“可能性”的故事，它鼓励人们打破惯性，在生活与个人价值的实现上，创造更多可能。如果你是互联网行业的从业者，这部电影的许多细节，一定会让你产生共鸣。如果你对互联网行业并不了解，你也会在这里看见一个全新的世界。