用另一个角度，另一段历史，来怀缅9•11，来激励人们继续齐心向前。 就在世贸大厦和五角大楼遭到恐怖袭击的那个黑色日子，新闻报道了一场灾难——93航班被恐怖分子劫持，之后坠落在宾夕法尼亚洲，机上45人全部罹难。 社会广泛猜测，航班上的恐怖分子本来打算把飞机用以袭击华盛顿。 然而机上所有乘客和工作人员却一致抗敌，力挽狂澜，以自己的牺牲保住了更多人的性命。
漂亮可爱，性格外向的柳依依因为一次遇溺，脑部受损，患上了不能根治的古德菲尔德综合征，她每天都像活在同一天中。 自由撰稿人夏星跟友人洛康在一次的流浪旅途中，开车撞到了依依的妹妹－柳青青。柳青青把二人带回家，打算谈好赔偿。柳青青的家是一个风景优美的渡假村，夏星对这个度假村很感兴趣，便向青青提出了「打工还债」的说法。此时，柳依依出现在三人面前，她以为夏星和洛康是客人，于是热情地招待他们。依依跟夏星聊得十分愉快，夏星也对依依愈感兴趣，打算跟她继续发展下去，却不知道依依患上了短期记忆丧失症的事。 第二天夏星早早来到同是由依依一家人经营的咖啡馆，等待着依依的到来。不料依依来了，夏星上前搭讪寒暄只得到了依依的冷漠回应。夏星虽然感到很奇怪，却没有因此而放弃。反而对依依有了兴趣，真的喜欢上了依依，于是对她展开了追求，不料同第一次一模一样的搭讪方式，第二次却遭到了依依狠狠地拒绝,此后的每一次都一样......
在这个被枪火所控制的城市里，非法毒品交易帮派间一场看不见的战争正在激烈进行，而武装警*的参与，街道变成了战场。一个年轻女孩欠毒贩一笔钱，为了偿债连夜沿街卖淫；一个屌丝决心要打破这种暴力循环的模式，最终要面对面解决邪恶的黑帮犯罪。故事平行聚焦在四位年轻人身上，以段落式短篇故事逐一串连，叙说他们如何在龙蛇杂处的ForestGateNicktime区（伦敦的一个贫民区），为自己的尊严和生命搏斗。
乔安（戚薇饰）曾是含着金汤匙出生的千金小姐，享受着衣食无忧的奢侈生活，然而某一天，她失去了所拥有的一切，流落他乡。正当所有人都渐渐将乔安淡忘之时，她突然以一种凌厉的姿态重新杀回了众人的视野，乔安加入了奥里斯广告公司，那里曾经是父亲一手经营的帝国和战场，这一次，乔安决定要凭借实力，夺回属于自己的荣耀。陆远扬（陈亦飞饰）是公司的现任总裁，面对初来乍到的职场新人乔安，这位霸道总裁自然是百般刁难，可聪敏过人的乔安巧妙的化解了陆远扬设置的一个又一个难题，渐渐赢得了后者的认可和信任，与此同时，随着时间的推移，两人之间亦产生了暧昧的感情。
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.
王牌特工惨遭组织背叛名殒，身附系统归来纵横九荒世界。
HBO确认将拍摄《亢奋》“新冠特别篇”，为两季之间搭桥HBO剧集《亢奋》（Euphoria）斩获了今年的三项艾美奖，包括赞达亚（Zendaya）获得的剧情类最佳女主角，使她成为该奖项有史以来最年轻的...
本片讲述了山村“手拉手”的朋友送来了两只兔子，城里五年级的孩子们都很兴奋。可是，面对新奇的生活环境兔子却病了，孩子们只能趁六一儿童节的时候把兔子送回山里。后来他们在山里意外的发现了“UFO”的踪迹，于是在一只百年老龟的启发下，城乡的孩子开始了一场探秘之旅......
枫（佐佐木希）、薰（夏菜）、美知留（中川翔子）、绘美（德永绘理）四人从小一起长大，孩提时期她们建立了自己的小团体“雏菊会”。绘美的婚礼上多年不见的四人重新聚在了一起。 可就在那天，枫所在的公司突然破产，她还被恋人甩了，马上30岁的她失业又失恋。走投无路的她，决定重拾儿时的梦想——成为一个面包师。 与此同时枫的三位闺蜜，高级美容沙龙工作的薰，一贫如洗的皮具设计师美知留，新婚的绘美，她们的生活也发生了各种意想不到的事情。四个人的未来，将何去何从呢？
一个30多岁的单身汉，过着懒散、放松的生活，直到他爱上了16岁的保姆，他的生活因此发生了翻转式的变化。