张若昀演过的电视剧

故事讲述了古代女侠樊梨花剿匪传奇经历。故事非常虐情，还带有点喜剧色彩。樊梨花因为要剿灭匪徒，与壮士薛丁山命运相交，她对薛丁山一见钟情，但是薛丁山很想让她卸甲归田，最终两人经历了重重磨难，明白了彼此的心意，同心协力一起剿灭了匪徒。最终，薛丁山认为樊梨花为救他而身亡。

警探铁男（任达华 饰）在执行任务中失手打死了自己的亲哥哥，这使他产生心理阴影落下阳痿的毛病。在铁男邂逅了不良少女小猫（邱淑贞 饰）之后，他发现只要见到小猫病就会好，小猫也很喜欢他。一次意外小猫杀人后失踪，被职业女杀手四姐（姚炜 饰）救下并训练成杀手。四姐的大徒弟公主（吴家丽 饰）是个女同性恋，她杀手的手法十分毒辣，她对四姐早就心怀不满，同时也对小猫怀有幻想。一系列的杀人命案让铁男又一次遇到了小猫，虽然小猫不承认自己的身份，但是铁男认定她就是小猫。四姐和公主都想除掉铁男这个麻烦的警探，但是小猫处处保护他。不久后公主为了自己的利益残忍地杀死了四姐，小猫为了替师父报仇引诱公主出现，计划跟她同归于尽，危机时刻铁男出现了，看着奄奄一息的小猫他做了一个这辈子都不后悔的决定……

时间是1975年，供职于日本东部航空（Eastern Airline）驻泰国分公司的东垣内丰（西島秀俊 饰）是一位年轻有为、稳重干练的“好青年”，他在同事中人缘极好，上司樱田善次郎（加藤雅也 饰）也对他赞赏有加，生活中丰也即将和女友寻末光子（石田ゆり子 饰）完婚。正当如此春风得意时刻，丰邂逅了美丽妖艳的贵妇人真中沓子（中山美穂 饰）。仿佛被施以魔咒一般，丰迅速陷入与沓子亦情亦欲的缠绵中。他情纵声色，忘却归路，几乎失去了宝贵的爱情与友情。光子对丰的情事隐隐有知，丰也不得不选择与沓子分手，谁知这一分别便长达25年之久……　　本片根据辻仁成的恋爱小说改编。

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.

布商之女玛丽因家境殷实而遭到本城城主的陷害，父亲被杀，自己受到凌辱和鞭刑后被逐出康斯坦丁城。玛丽发誓要回来报仇血恨，为此她改名换姓为汉娜。流亡途中被一群妓女所收留。为了雪恨，她只能被迫使用上帝赐予女性最天然的武器。

Lily Franky挑战饰演盲目的贝类学者，与寺岛忍、池松壮亮及桥本爱等豪华的演员阵容共同演出日美合作电影『Shell Collector（贝壳收藏家）』。　　以贝类学的世界成名的学者，与妻儿分离来到冲绳的离岛过著厌世般的生活。某一日，画家伊津美漂流到岛上，伊津美所罹患的罕见疾病偶然被贝类的毒治好后，学者的生活产生了剧变。　　导演由曾获得多项奖项的坪田义史担任；流浪至离岛与学者开始同居生活的画家”伊津美”由寺岛忍饰演；贝类学者的儿子”光”由池松壮亮饰演；和伊津美罹患相同罕病，岛上有权势之人的女儿”嶌子”则由年轻实力派女演员桥本爱饰演。

Wanpichit（Son扮演）和Ajaree（Green扮演）还有Kwan是幸福的一家三口，生活因为某个人的闯入而改变。第一个改变是Fah（Pim扮演），来自照顾孩子的保姆办公室的她，是根据两夫妻的需求而来的。在通过详细意图的表达和保姆的挑选，最终确定了她为保姆，照顾两夫妻心爱的女儿。第一个改变的出现是心安的感觉，当发现Fah就是照顾Kwan的最理想的人的时候，这让两夫妻对孩子的担心都减少了，直到觉得很不错，当发现Kwan看起来和新的保姆在一起时候过得更加开心。

贝多芬（岑建勋 饰）和阿秋（吴耀汉 饰）是一对好朋友，也是搞笑鬼马的便衣搭档。他们常将警局闹得不可开交，连上司陈办（陈欣建 饰）也头疼不已。不过，自从阿秋和安娜（叶德娴 饰）结婚之后，贝多芬就变得孤苦伶仃，可怜兮兮。最终贝多芬搬到了阿秋家，和这对小夫妻凑成一个笑料百出的三人世界。 　　陈办不堪其扰，将二人调到素有“鲨鱼田”之称的田警司（田俊 饰）麾下，两人被好好整了一番，苦不堪言。另一方面，陈办在执行任务时被多年前的宿敌飞天蠄蟧（林正英 饰）陷害。贝多芬和阿秋深知老上司被冤枉，于是明察暗访，发誓揪出幕后真凶……

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杂志编辑嘉露一次约会，目睹新男友被黑帮处决，便逃命到加拿大，检察官罗拔要将匪首绳之以法，千里迢迢游说嘉露回美作证，由于情报泄露，回程途中杀机重重，他俩要互相扶持，杀出重围。

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