众生视我为修罗，我以修罗成武神
大毒枭文华（陈豪饰）掌控全港过半以上的毒品生意，为了打击这名头号毒枭，毒品调查科安插行动组卧底叶浩天（萧正楠饰）在华身边，最终华被最信任的天出卖而被捕。从此，天失去了情感、恐惧和同情心，甚至对爱人丁若宁（张㬢雯饰）也失去了爱的感觉。在同僚眼中，天是一名不合群的“怪咖”，终日埋首于失踪人口调查科工作。而华入狱后一直要求单独囚禁，希望能安静地看书。12年后，华接受网台记者林可儿（张宝儿饰）采访，言谈间为过往的所作所为后悔不已。华被证实患上末期肺癌，特区政府基于人道理由让华假释。此时，一宗杀警案的矛头直指刚出狱的华，宁要求最了解华的天重返毒品调查科。华找来哑巴徐安乐（何广沛饰）替他处理网上毒品经销，再找来旧爱章琳（胡定欣饰）助他透过股票市场洗黑钱。华希望利用有限的时间来建构他的新世界……
该剧改编自同名人气网漫，讲述从大马集团被左迁的郑北东，成为大型商店“千里马超市”的社长后发生的故事。金炳哲饰演大马集团的核心干部郑北东，他被称为“带着电脑的推土机”，具备耐心和观察力。他成为千里马超市的新店长，投入复兴超市的热血战场。他是一个风风火火，直来直往，非常自信且不屈不挠，有着极高自尊心的男人。虽然经常被说看上去像个醉汉，但其实是中年男人一枝花。由《无理的英爱小姐》《剩余公主》朴承龙导演执导。
Mariana, Willington's eternal love, is preparing her marriage with René, the cousin of her ex boyfriend. While Willington tries to get her back, the rumour of a thief in town and a series of violent deaths that remind them of a fearful past, will endang
青年舞蹈家蒋彦（王尧饰）用抓阄的方法决定要旅行的城市——成都。到达成都后，行李箱阴差阳错拿错了，依照便笺找到箱子的主人，他竟是先前与自己有过一段情缘的海东（佟悦饰）。蒋彦应海东之邀，参加朋友的生日宴会，被娱记认了出来，原来她主演的电影《舞旋》正参加瑞士电影节。自幼练舞的蒋彦现己27岁，正面临退役或改行的阶段，这一行业的残酷令蒋彦怅然，当晚，参加聚会的人不醉不归。第二天醒来，蒋彦觉得海东是个可以依靠的男人，他的包容与责任感令蒋彦刮目相看。《舞旋》在瑞士获奖，而蒋彦则获最佳女主角，面对娱记的尾追堵截，她觉得是一个成都男人给她带来了好运......
证券公司基金管理人石宇（孔侑饰）光鲜精干，却也是个重利轻义之徒。妻子为此与之决裂，女儿秀安（金秀安饰）则对如此自私的父亲越来越失望，决定前往釜山和母亲生活。在秀安生日这天，石宇抽出时间陪伴女儿登上开往釜山的特快列车。而与此同时，城市四处出现了极为可疑的暴动事件。政府极力洗白无法掩盖丧尸肆虐的事实，即便懵然无知的列车乘客也因为不速之客的到来而堕入恐慌绝望的地狱中。开车的刹那，一名感染者冲入车厢，而她很快尸变并对目光所及之处的健康人展开血腥屠杀。未过多久，丧尸便呈几何数爆发性地增长。石宇被迫和幸存者的乘客们在逼仄的空间中奋力求生。通往釜山的遥遥旅途布满杀机，危难时刻每个幸存者的人性也承受巨大的考验……
Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
民国时期战乱频生，百姓生活艰难，很多人只能靠偷盗维持生计。小柒为了还债，冒着危险潜入陆府偷些值钱的东西。陆府大少爷陆骁看似放荡不羁，实则沉稳，为了调查调查密函一事深夜潜入二弟陆淮安的房间，二人在陆淮安房间碰个正着。小柒以为自己遇到同行便自报家门，陆骁看着眼前的小柒决定将计就计，设计利用小柒摆脱陆老爷安排相亲的世家小姐，小柒只得配合陆骁演戏。睿智深沉的陆骁，单纯仗义的小柒，心思深沉的陆淮安，究竟会走向怎样的结局？
该片展现了汶川大地震发生后的“真实与荒诞”
这部纪录片系列讲述了目前参加NASCAR 杯系列赛的唯一一名黑人赛车手布巴·华莱士的故事，他用自己的发声和天赋改变了这项运动。