经济的发展和环保的疼痛碰撞，人性的自私与人性的温暖交融。军人出身的孟祥民同志把部队的坚韧精神带到环保事业中来，把毕生的激情和爱奉献给了环保工作，把生命奉献给了致力环保的信念……在山东淄博这个重工业区，孟祥民同志用自己的执着和生命插下了一面环保的旗帜……经济的发展和环保的疼痛碰撞，人性的自私与人性的温暖交融。军人出身的孟祥民同志把部队的坚韧精神带到环保事业中来，把毕生的激情和爱奉献给了环保工作，把生命奉献给了致力环保的信念……
曾经平凡无奇的银行职员高见武晴（松田龙平 饰）患上了罕见的职业病，他对金钱极度过敏，一旦看见或碰触就会晕眩恶心乃至休克。为了过上零日元的生活，他辞职来到了老龄化高达40%的东北小山村上吕切村，准备自力更生丰衣足食。有些热情过度的村长天野与三郎（阿部隆史 饰）对这个没有任何生活常识和求生技巧的年轻人无法坐视不管，他和妻子亚希子（松隆子 饰）介入阿武的生活，让他笨拙地在村里扎下脚跟。被奉为神的老爷爷（西田敏行 饰）每天拿着相机，记录着阿武和村民们奔忙的点点滴滴。村长改选在即，上吕切村则面临着并入其他行政区
当客人意识到有毒的鲨鱼正在滋生周围的水源时，一个热带单身度假胜地将会转瞬即逝。 它不仅会撕裂受害者，而且还会使用抛射酸来进出水中。A tropical singles retreat takes a terrifying turn when guests realize a poisonous shark is infesting the surrounding water. Not only will it rip apart its victims, but it also uses projectile acid to hunt - in and out of the water.
男主跟妻子和小姨子住在家中，跟小姨子有奸情，从而对老婆忽冷忽热，而男主的好友来到家中作客后，发现了男主跟妻子性生活的不和谐，对男主的妻子抱有幻想，但是理智提醒着他不能做出过分的事，然而他最终还是冲进了男主的妻子的洗澡房，男主的妻子不但没有反抗，反而相当享受，妻子和好友的奸情很快被小姨子发现，小姨子其实一直非常嫉妒姐姐，好不容易抢走了姐夫的爱，姐姐又找了新的男人，小姨子决定要勾引男主的好友，让他也拜倒在自己的石榴裙下...
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.
In 1974, the Portuguese and their descendants fled Angola where nationalist groups gradually claimed their territory back. A tribal girl discovers love and death when her path crosses that of a Portuguese soldier. Then, a Portuguese squad is barracked inside a wall from which they will have to escape once the past comes out of the grave to claim its long-awaited justice.
退伍后的在勋来到偶像练习生妹妹恩珠的宿舍借住几日，而和妹妹恩珠同住的还有两位偶像练习生，看到英俊的在勋而产生好感的两个 妹妹，开始争风吃醋的抢夺男人的欢心...
讲述为了继承拥有200年历史的家族事业“黄牛酱油”，从小被当成男生教育并以儿子身份成长的女孩张荷娜的故事。饰演女主角荷娜的朴韩星因剧中女扮男装的角色所需，出道11年后首度以短发亮相。
女主角官恩娜曾因此片获得2012 澳大利亚悉尼金考拉国际华语电影节最佳女主角奖。 一个因此长期滥用药物而频临死亡的的华裔女孩(官恩娜 饰)，离开熟悉的旧金山就为去香港见一个只在网上聊天的网友三藩市。途中遇到一个终日待在棺材铺，不与外界节流的坏脾气老伯(泰迪·罗宾 Te ddy Robin 饰)。而旧金山另外一个几十年没有怎么出远门的女中医(苗可秀 饰)，不得不为了一份速递屋契回去久别的香港。南北行药材铺少东家(周俊伟 饰)，却从来不喜欢自己的家族生意。这些人的相遇到底是巧合还是命运的安排，看似陌生人似乎能给对方带去不同凡响的影响......