叶子（马頔 饰）是一个80后的摇滚青年，整天过着纸醉金迷、醉生梦死的日子，他每天放荡形骇，却不愿与正常人为伍，他认为常人过于庸俗物质。他唯一的生活来源是跟纪录片爰好者王小师（王佳杰 饰）在剧组干剧务，干点搬搬扛扛的粗活，领取一点微薄的酬金，闲暇时间则与医生大钊（张硕 饰）、民工申夜（宋冬野 饰）在一起厮混。有次酒后断片，他结识了白富美王紫菲（肖珊 饰），缠缅一阵后很觉无聊，感觉这并不是他想要的生活...... 本片改编自小说《那些人五人六的日子》。
本片是由Alberto Vázquez Figueroa执导，法比奥·特斯蒂、艾格斯蒂娜·贝利和Jorge Rivero等人出演的冒险片。 农场主亚历克斯一家原本过着幸福安逸的生活，不料祸从天降，亚历克斯的老婆孩子一夜之间被人杀害，房子烧毁，他本人也被送进了精神病院。几年后，亚历克斯终于趁机逃出了精神病院，独自踏上了复仇之旅。在一个神秘的远古山洞里，亚历克斯得知他的仇人正是泰坦公司的老板巴勒斯。巴勒斯表面上为消费者设计和制作游戏，实则在钻研远古人类克罗马农人留下的神秘机器，妄图解开永生的秘密。为了阻止亚历克斯的复仇计划，巴勒斯派出了众多打手，想致亚历克斯于死地。在茫茫人海中逃亡的亚历克斯得到了女警察卡特的协助，然而他的复仇计划能够成功吗？复仇之后他又将何去何从？
抗战胜利，一直在大后方从事话剧工作的老赵、小于夫妇，回上海重建理想中的美好生活。谁知他俩一到上海，因租不到房子，当天在友人家八楼屋顶熬了一夜。翌日，夫妻俩外出找房子，只见许多空房被贴上接收封条，愿出租的都索价金条美元。 夫妻俩无力承租，失望之余，偶遇喜爱话剧的小桃。小桃原是汉奸裴某之妻，胜利后裴某因汉奸罪入狱，房产和老婆悉被重庆来的接收大员老洪“接收”。一天，小桃与老洪吵架，赌气将 一间空房租与老赵夫妇。老洪不允，又起争吵。不意裴某摇身一变成为“地下工作者”，昂然出狱，率领一帮打手回家，痛殴老洪，夺回妻子。老洪心有不甘，也找了一帮打手前来报复。此时老赵的友人也前来道乔迁之喜，于是一群人稀里糊涂地在这幢房子里展开了一场恶斗...
阿尔贝·杜邦泰尔执导，并与维尔日妮·埃菲拉主演喜剧新片[拜拜笨蛋](AdieudesCons，暂译)。一个身患绝症的理发师(埃菲拉将饰)决定去寻找她少女时期怀孕后放弃养育的孩子。她与一个厌倦了自杀的官僚(杜邦泰尔饰演)相遇后，官僚与一个失明的档案管理员一起加入了她的探索。本片将于6月开机。
要放在解放前，江德福（郭涛饰）和安杰（梅婷饰）这对男女可真是八竿子够不上关系的两个人。他们一个是年轻有为、干练果敢的海军军官，一个是从小养尊处优、娇媚华贵的资本家小姐，但20世纪50年代的沧桑巨变让他们俩人走到了一起。江德福在舞会上结识美丽的安杰，虽然他冒冒失失，又是个目不识丁的大老粗，经过一番周折他们终于组建了成分不相匹配的小家庭。问题是不相匹配的何止是出身，还有各自的阅历、学历以及人生态度，在之后的岁月里，他们打打闹闹，吵架拌嘴，俨然成了家庭常态，更有江德华（刘琳饰）这类人物从中加油添醋。这是父辈们平常而又有些特殊的典型案例，将他们紧紧锁在一起的不仅仅是爱情，更有……
此剧描写了一个七岁的苏州汉族男孩\"小西北\"从内地来新疆寻找爷爷，与大人走失，在几个少数民族孩子，即维吾尔族卡德尔、曼力丹、锡伯族东北的帮助下，历经曲折，终于找到爷爷，而爷爷出人意料的却是维吾尔族的一波三折的故事，展现了当代少年儿童健康、积极向上、勇敢顽强的精神风貌，反映了民族团结的主题；是一部寓教于乐，富有生活气息，轻松、诙谐、幽默、适合少年儿童欣赏心理，弘扬主旋律的作品。此片副主题也紧贴时代要求，随着故事的展开，得以鲜明揭示。如：加强环保意识的主题。江泽民主席曾指出\"西部大开发首先要改善环境，加强生态建设\"。此剧借小主人公因毁坏小松树后做的梦，揭示了这一热点主题，可以说是用艺术形象为此大造舆论．表现上也极富创造性：将古老的十二木卡姆演唱与现实紧密结合，既有浓郁的西部风韵和梦幻、童话色彩，又突出了\"世界万物，生命之网\"的环保主题。此片属儿童剧，是儿童题材中的公路片。孩子们以他们的想象，去找爷爷，免不了出错，免不了四处寻找，使此剧形成典型的\"公路片\"框架形式，集历险和旅游于一身．正是这个可信的动机和形式，带我们遍游新疆的名山大川、沙漠绿洲．\"找\"与\"游\"联结的十分自然顺畅，观众在孩子们的寻找中，自然而然地随他们走南闯北，一饱眼福。此剧可贵之处，是以儿童的眼睛观察世界，用儿童的眼睛评价人物，是一部地道的儿童片。
What will Catherine and Peter risk to preserve the crown?
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.
达瑞斯（塞缪尔·杰克逊 Samuel L. Jackson 饰）曾是一名令业内人士闻风丧胆的超级杀手，如今已经缉拿归案的他屈居在铁窗之后，等待着漫长的刑期到头。达瑞斯的妻子索尼娅（萨尔玛·海耶克 Salma Hayek 饰）同样身陷囹圄，某日，达瑞斯得到了一个意外的机会，能 够令索尼娅重获自由，作为交换，他必须出庭作证证明邪恶的罪犯弗拉迪斯拉夫（加里·奥德曼 Gary Oldman 饰）有罪。
电影《村官普发兴》主人公原型是真实的云南民族地区的“村官英雄”，普发兴是为民爱戴的共产党员，他20年如一日，脚踏实地，勤奋工作。特别值得一提的是，当支书前，普发兴在村里搞运输，是全村响当当的万元户，面对放下既自由又赚钱的活计去当清苦劳碌的支部书记，家里人不同意，经过激烈的思想斗争,普发兴说服了家人，上任以来公而忘私，服务百姓，2007年3月28日，普发兴因积劳成疾，逝于任上，以生命书写了新时期一个村支书和新农村建设带头人的风采。
西班牙惊悚片，背景是1921年的巴塞罗那，无政府主义者和警方之间的动荡未歇，暴乱黑帮，贪腐警察，罢工劳工，女权示威群众，一片混乱之际，又有一车军武在运输途中遭到偷窃，情势犹如一颗炸弹，随意爆炸，一名警员为双方效力，好查出是谁偷了可能点燃内战的军方武器...