都市之仙王归来

修真六百年的仙尊叶天，渡劫失败，止步真仙，怀万族至宝九天神石重生地球。 倾家荡产之仇，家破之恨，亡妻之痛，前世恩怨，今世血债血偿！ 力压各方大佬，碾压豪门世家，弹指间覆灭古老门派，金钱，美女，权利，不过一念之间。 且看主角如何在一个个只手遮天的势力中，强势逆袭！！

芬妮的旅程

1943年法国维希政府时期，一群犹太儿童在儿童庇护所生活了几年后必须避开德国纳粹的逮捕逃往瑞士，为了避开逮捕不得不与他们信任的成年人分开。这一群犹太孩子踏上了一条一切靠自己的逃亡之旅。本片根据真人真事《芬妮的回忆录》改编，真实刻画了二战时期犹太儿童的处境，这群犹太儿童们面对着成年人都不知所措的艰险逃亡，又将如何？这群孩子是否能成功逃到瑞士呢？©海德文

歇斯底里

本片根据真人真事改编。 怀抱着救人理念的年轻医生莫蒂默（休•丹西 Hugh Dancy 饰）因为和许多医院的经营理念不合，数度被辞退。在寻找工作的过程中，找到了达尔林善尔医生的诊所。这是一家专门服务女性，治疗学名为“歇斯底里症”疾病的地方。莫蒂默在这里学会了手指按摩法，也在这邂逅了医生的2位性格迥异的女儿。姐姐夏洛蒂（玛吉•吉伦哈尔 Maggie Gyllenhaal 饰）是位女权主义者，开着救济所；而妹妹艾米丽（菲丽希缇•琼斯 Felicity Jones 饰）则是位大家闺秀。医院的生意越来越好，却让莫蒂默的手吃不消。因一次手痉挛，莫蒂默没能让一位顾客得到满意，因此被医生扫地出门。回到朋友埃德蒙（鲁伯特•艾弗雷特 Rupert Everett 饰）家中，看到其发明的电动鸡毛掸，莫蒂默产生了一个奇妙的想法。而这个想法给女性们带来福音和欢乐，无形中也支持着女性的解放。一出充满趣味和爱意的故事就此上演。

忍者神龟

　　将施奈德回老家之后，四只原本亲如兄弟的神龟由于没有了敌人，于是不再想以往一样一起战斗，而是各自在喜欢的领域内钻研，以往一起行动的忍者神龟们变成了四个独来独往的“独行侠”！                                                                    　　这时，纽约市中发生一连窜的怪事。原来实业家马克西米林安•J•威特斯意图征服纽约市，秘密培养了一支远古怪兽组成的军队，加上恶名昭彰的忍者组织Foot Clan，各种黑暗势力又在城市的角落里蠢蠢欲动！                                                                    　　神龟们又处于备战状态了！他们再次联合起来，准备向黑暗势力出击！

60岁的情书

　　橘孝平（中村雅俊 饰）和妻子千寻（原田美枝子 饰）之间早就没有了感情，他决定在退休的那一天提出离婚，然后着情人夏美一起经营事务所。千寻任劳任怨的做了三十年的全职太太，没想到忽然之间就失了业。绝望中，她找了一份钟点工的工作，服务于一位名叫丽子（户田惠子 饰）的女子。                                                                    　　丽子和千寻很快就成为了无话不谈的好友，在丽子的帮助下，千寻整个人都焕然一新，神采飞扬。改头换面的千寻吸引了小说家麻生的注意，然而千寻的心依旧系在孝平的身上。孝平和千寻的女儿真纪（星野真里 饰）生产在即，这让孝平重新见到了千寻，而一封迟到了三十年的信让孝平终于明白了千寻对自己深厚而又真挚的感情。

青春抛物线

拥有着杰出排球天赋的少女易安乐（苗苗饰）加入了因为在比赛中屡屡失败而陷入了危机之中的明洋队，刚开始，易安乐因为其娇小的身材和瘦弱的体型而遭到了队友们的质疑，但很快，她就凭借着实力收获了肯定和信赖。无论做什么事情都全力以赴的富家千金邱元雅（陈欣予饰）、勤勤恳恳的打工女孩盛芷（汪芦云饰）、对排球投入了所有热情的顾柏柏（李蒙萌饰），在球队里，易安乐很快就结识了一批志同道合的朋友们。在大家的共同努力立下，明洋队屡创佳绩，一路打进了省联赛，但在此过程中，易安乐也被卷入了和预备队主力叶满阳（周游饰）以及青梅竹马傅安晏（于朦胧饰）之间的三角恋情之中。

暗黑第三季

在第三季也是最终季中，《暗黑》突破时空的概念，得出了令人意外的结局。来到新世界后，乔纳斯试图弄明白这一个温登小镇对于他自己的命运有何意义，而留在另一个世界的人们试图打破扭曲时空的循环。两个世界，光明与黑暗。中间穿插着史诗般的悲情故事。

门徒2021

故事围绕伦勃朗(基顿饰)和安娜(李美琪饰)展开，这两个世界上最顶级的杀手将揭露一段发生在越南的神秘往事。多年来，他们游遍全球来互相争夺最抢手的合同。但当安娜的导师穆迪(杰克逊饰)被谋杀时，她和伦勃朗必须结盟，返回越南追捕凶手。

欧洲的某个地方

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.

雏妓2015

故事讲述于杂志社工作的何玉玲（蔡卓妍饰）花了四个月时间完成一篇关于官商丑闻的报道，却基于杂志社利益为由被老总抽稿。意兴阑珊的她决定到泰国清迈散心，在酒吧遇上雏妓Dok-My，玉玲看在眼里心感难受，千方百计决定将Dok-My救出火海。原来Dok-My令玉玲忆起自己十多年前的经历，曾经被后父性侵而离家出走，令她遇上比她年长三十年的甘浩贤（任达华饰）这位长腿叔叔。展开长达八年的不道德交易，她愿意被包养以换取学位与栖身之所，两人感情千丝万缕，关系如父女又如情人般扑朔迷离。

提着心吊着胆

杨百万（陈玺旭 饰）和妻子马丽莲（高叶 饰）共同经营着名为仙客来的饭店。马丽莲样貌出众个性泼辣，让杨百万很没有安全感，整日疑神疑鬼，担心头上不知什么时候就多了一顶绿帽子。某日，杨百万撞见马丽莲和一陌生男子共处一室，愤怒中，他暴打了该男子，却反而遭到了妻子的一顿修理。 认定了自己遭到背叛的杨百万找到了神医毕见效（曹瑞 饰），花费巨款委托后者找杀手做掉马丽莲以解自己的心头之恨。约定当晚，杨百万药倒了马丽莲后离开，却在无意之中发现了妻子的清白，而彼时杀手已经默默的来到了马丽莲的身边。心急如焚的杨百万赶回家，没想到眼前出现的竟然是毕见效的“尸体”和昏倒的马丽莲。

量贩春光

张诚是一家网店“美丽内衣”的老板，三年来和女友姚雪苦心经营，生意却一直不景气。突然地，一天之内，女友因为不忍现实压力提出分手；自己被当作是制造散播黄色信息的变态，被社区和民警盘问；父亲来为他料理后事，父子又起冲突；同时房租过期未缴，被房东挡在门外，有家归不得。张诚心灰意冷，打算在夜市卖掉所有存货，埋葬青春记忆，又被城管追赶，还被罚款2000，搞得身无分文。而重色轻友的哥们周之乐早在风雨来临之前就已经迅速带着女友丽丽“逃之夭夭”。一瞬间，张诚感觉仿佛被整个世界抛弃，亲情、爱情、友情、事业统统离他而去……　　心灰意冷的他独自在街上彷徨，为了一席之地跟乞丐动手抢地盘。就在他即将绝望之际，周之乐终于出现了，将他领回家。诸事不顺的张诚变得有些颓废，准备关掉网店，决定放弃之际，一个叫素素的客户给他下了一个订单，他十分激动，认定是前女友姚雪对他余情未了，在暗中帮助他。为了爱情，张诚决定重振旗鼓，继续经营网店，这时，因为一批外贸残次货，他意外结识了网名为小宝子的倪潇潇。潇潇帮助他解决了外贸货，重新规划宣传网店，张诚的生意逐渐走上正轨，而潇潇和张诚的感情，也悄悄萌芽。但一场误会，让潇潇和张诚开始怀疑对方的感情……　　而张诚的父亲也用自己的方式，支持张诚，冒名“素素”关照张诚的生意。父子的矛盾将如何解开？张诚和倪潇潇，现实的浪漫和浪漫的现实，矛盾天平的两端如何调和？最后两个年轻人是否能够走到一起？