《飞驰吧！少年》节目是芒果TV与广汽本田打造的首档汽车竞技类综艺，节目聚集热爱汽车文化的热血少年，心怀与车的梦想和故事，彼此合作分享，共同激发改创潜力，并最终完成一次充满挑战的无限梦想赛，引领正向的用车理念、安全的用车技巧，展示国内汽车文化的魅力。
明星韦小龙（赵韦至 饰）因不满签约公司为他找来的广告剧本，与老板宋光宗反目成仇，一拍两散。这边厢，在招聘会场应聘艺人助理的安雨婷（刘彦军 饰）和应聘保安的雷仁（赵韦至 饰）因一场误会有了关联。在宋光宗的办公室外，韦小龙的铁杆粉丝安雨婷意外听到宋光宗针对韦小龙的报复计划，急忙向后者转达，由此成为韦小龙安插在宋光宗身边的“卧底”，雷仁因为长相酷似韦小龙被宋光宗收用，安雨婷担任其助理。凭借安雨婷的情报，韦小龙多次欲拆穿雷仁真面目，却不料后者的演义事业在盲打误撞中稳步提升，拥有能源车事业的邝总（吴辰君 饰）也邀请雷仁代言。随着演义阅历的丰富，雷仁的优点开始逐渐改变了安雨婷对他的成见……
以微电影的形式， 呈现大湾区城市群旖旎的海岸风光， 沿着海岸线走进古镇村落， 丈量各具特色的海丝城市古迹， 串起历史的流光碎影。4k电影级户外纪录+Vlog房车旅行打卡的拍摄模式跳脱传统纪录片叙事， 十组不同风格的房车露营方式，为观众带来沉浸式旅行体验。
张成功（李威 饰）拥有着英俊帅气的外表，刚刚从国外留学归来的他顶着牙医学博士的头衔，在国内收到了各种莺莺燕燕的殷勤追捧。然而，张成功的眼里只有一个人，那就是韩雪霏（苏小妹 饰），可是韩雪霏对待张成功的态度却非常的冷淡，不仅如此，她的个性大大咧咧，是一个实打实的女汉子，韩雪霏身上究竟是哪一点在深深的吸引着张成功呢？ 就在张成功和韩雪霏之间的关系剪不断理还乱之时，身材火爆而又性感的女演员毛毛（付曼 饰）加入了这场爱情争夺战之中。与此同时，韩雪霏的身边出现了潇洒多金的公子哥阿B（崔文璐 饰），不仅如此，就连韩雪霏的妹妹韩晓丽（童苡萱 饰）也向张成功暗送秋波。
本片改编自丹佛·摩尔与朗·霍尔合着的纪实小说。 这是一则真实故事，生活于上流社会，事业有成的国际艺术画商朗·霍尔，某天听到妻子叙说她神奇的梦，这个梦将开启他与世界上另一个角落的男人，建立友谊并陪伴他度过人生最伤痛的时刻。
故事发生在中古世纪，阿祖尔是个金发碧眼的欧洲贵族，与父亲生活在豪华的宫殿中。与他共同生活的，还有奶妈和她的儿子——黑发、褐色皮肤的阿斯马尔。奶妈悉心照顾两个男孩，并且给他们讲述仙灵女的童话故事。但是随着阿祖尔慢慢长大，他父亲把他送到外面接受更专业的教育，并且解雇了奶妈，把她和阿斯马尔赶出了宫殿。 成年后的阿祖尔回到了宫殿，决定要外出冒险，却意外流落到了陌生的国度。在这片中东土地上，阿祖尔经历了多番波折之后，居然与奶妈和阿斯马尔重逢。随后，这两位代表着不同种族的王子——阿祖尔和阿斯马尔，都决定要去寻找仙灵女，途中他们遇到种种困难，互为竞争对手的他们能否救出仙灵女…
The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown. Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath. The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments. In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church. On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast. Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive. The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
1934年在日本武术学校之间有开放敌手战斗。有一次战斗在市场， 三名中国学生当他们协助帮会攻击战斗以致他们的学校被毁坏，并且他们被驱逐。
讲述的是男女主角在结婚前夕准备婚礼时遇到的困惑和迷思，从而反思结婚的本义。
讲述混乱时代下，通过对话和沟通来解决问题的谈判团队的故事。
2018年，瓜地马拉，内战结束逾二十年，转型正义仍缓步推行。每一寸貌似平静的土地，都可能埋著亟待出土的无名遗骨，每一张缄默的母亲脸孔，都可能藏著不堪回首的惨痛过去。负责遗骨身分鑑识的青年，从一位马雅老妇人获知线索，在偏远山区的乱葬岗，或许葬身著从未谋面的父亲。不顾母亲与同事劝阻，他全心投入寻找，难以启齿的身世也将意外揭晓??。 没有声嘶力竭的控诉，没有峰迴路转的情节，面对充满煽动性的大屠杀题材，《掘爱伤痕》以难能可贵的平实与简约，刻画下一代直视真相的勇气、倖存女性的伤痕与韧性。返璞归真的力量，在坎城影评人週拿下SACD奖，更获颁金摄影机奖肯定。 「我们有强烈的责任感，要避免任何过度渲染，因为这是一个发生在许多瓜地马拉人身上的故事。」——塞萨尔狄亚