ブロッコリーライオン原作、秋风绯色漫画作品《圣者无双》宣布TV动画化。
剧情简介“九一八”事变后，东北军战士双龙所在部队遭到日军残酷打击，他侥幸逃脱后被日军苦苦追捕。走投无路之时，他不得不投靠土匪，却受到过去同为东北军某部团长邓殿云所部伪军的围剿。在复杂的斗争情况下，双龙通过各种办法带领土匪走上了进步抗日的道路，并在共产党的领导下，将土匪部改编为抗日山林队，后收编为东北抗日联军第十军，双龙任军长。双龙领导的抗联部队在极端困难的条件下以少胜多，沉重打击了日本侵略者的嚣张气焰，也成为了日军的心腹大患。抗联十军一举歼灭并摧毁了日本关东军“七三一”细菌部队的前身——中马城。一九三五年，双龙加入了中国共产党。为此日军尾田部不惜出动重兵对双龙的十军进行围追堵截。由于日军女特务的混入，双龙部队驻地被日军发现，双龙领导的第十军陷入敌人的重重包围之中。面对数十倍的敌人，十军战士拼死顽强奋战，双龙军长与日军战斗到生命的最后一刻，流尽了最后一滴血。
讲述“小白兔”顾安心一不小心捡了争夺集团继承权遭遇事故“大灰狼”凌越回家，生活及身份迥异的两人同居欢喜过招，在现实生活中开启高甜恋爱副本的故事。
Coming as it does from the depths of the Stalinist regime, the Russian Road to Life is a remarkably optimistic film. A host of nonprofessional children are cast as Moscow street kids, left homeless by the Bolshevik revolution. They get into all sorts of melodramatic scrapes until they're rounded up by kindly, altruistic Soviet functionaries. The children are reformed (in the nicest possible way) and made useful members of society. Road to Life is simplistic in its solutions to society's problems, albeit no more so than the usual Hollywood product from the same period.
爱奇艺与邵氏影业首次合作。国内首次以“保险理赔员”为视角，追查保险事故真相，集动作烧脑、悬疑推理于一身的虐心而又温情的行业故事。
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.
少女伊西亚（塞伊拉·沃西 Zaira Wasim 饰）拥有着一副天生的好嗓子，对唱歌充满了热爱的她做梦都想成为一名歌星。然而，伊西亚生活在一个不自由的家庭之中，母亲娜吉玛（梅·维贾 Meher Vij 饰）常常遭到性格爆裂独断专横的父亲法鲁克（拉杰·阿晶 Raj Arjun 饰）的拳脚相向，伊西亚知道，想让父亲支持自己的音乐梦想是完全不可能的事情。 某日，母亲卖掉了金项链给伊西亚买了一台电脑，很快，伊西亚便发现，虽然无法再现实里实现梦想，但是网络中存在着更广阔的舞台。伊西亚录制了一段蒙着脸自弹自唱的视屏上传到了优兔网上，没想到收获了异常热烈的反响，著名音乐人夏克提（阿米尔·汗 Aamir Khan 饰）亦向她抛出了橄榄枝。
夜幕降临，资深刑警钟文（成龙 饰）接到离家出走许久的女儿苗苗（景甜 饰）的电话，他暗怀喜悦准时来到了正进行三周年店庆的武吧。武吧老板武江（刘烨 饰）热情地接待了他，但是酒吧内光怪陆离和乌烟瘴气的景象让钟文心生不快。稍后，苗苗抵达，眼见得纹身染发并且桀骜不驯的女儿，钟文尽 量和颜悦色与女儿沟通，可当得知武江是女儿的男朋友时还是发了脾气。就在此时，一名民工为索要工钱带着炸弹入场，钟文出手不凡解决争端，可没过多久却被人用棒球棍打晕。
《Assembly》为韩国KBS电视台于2015年7月播出的水木迷你连续剧。由黄仁赫导演，郑贤民编剧，以国会为主题，讲述焊工出身的初选议员和实力派辅佐官的故事，以国会为背景的现代政治电视剧。
安吉莉卡（森塔·伯格 Senta Berger 饰）是一名刚刚退休的老师，她和丈夫理查德（海纳·劳特尔巴赫 Heiner Lauterbach 饰）结婚多年，甚至他是一个小心眼斤斤计较又擅长猜忌的男人，可即便如此，安吉莉卡还是坚持要让难民塔克（埃利亚斯·穆巴里克 Elyas M'Barek 饰）住进自己家里，这究竟是为什么呢？
自1999年始的数年内,一向安宁平静的弘州市先后发生六起针对年轻女性的强奸案,受害者的皮肤均遭凶手割下奇异的血雏菊形状。负责侦破这场惊天连环凶杀案件的重任,则交到了警察刘一波,和搭档何晨的肩上。而这场斗智斗勇的追凶之旅,一追就是十九年......