红日狂花第一季

PoliceofficerLukas,trackingdownleadsArtanandLouise,adivorcedcoupleonanemotionally-chargedroadtripwhenArtantakesLouisehostagetoreunitewithhisdaughter.ThejourneytakesthemthroughruralSwedenduringahotsummer,allwhilehavingpoliceontheirheels

《Hi室友》是一档全新纪实观察类生活慢综艺，节目由7位合宿室友和1位房东构成，在一栋名为“Happyhouse”的房子中共同生活20天。24小时全方位实拍，节目全程无干预，无剧本，让室友们真实生活自然相处，让真实世界的活动在构建的情境中自然发生，编排感更少，更注重观察，看都市男女的相处之道，看空巢老人的陪伴与相处，看传统文化与潮流文化的融合，将现实生活中的正能量完整体现。

威尔（西蒙·伯德SimonBird饰）、西蒙（乔·托马斯JoeThomas饰）、杰（詹姆斯·伯克利JamesBuckley饰）和尼尔（布莱克·哈里森BlakeHarrison饰）是四个即将走出校园走上社会的高中毕业生，面对未知的全新生活，每个人的心中都有对未来的美好憧憬，然而，现实社会真的如同他们所想象的那样美好吗？为了好好享受毕业假期，四个小伙伴决定去位于希腊的克里特岛上度假，没有了老师和家长的看管，为期两周的自由生活召唤着他们悸动的心。一连串意外的发生让“四人帮”逐渐领悟到了成长的残酷，但也正是这份残酷促使他们变得更加成熟，成熟到足以抵抗比成长还要残酷的社会生活。

该剧讲述上世纪三十年代初，日本占领中国东北三省，在一列从哈尔滨开往奉天的列车上，一方面日本人进行细菌战筹备中，秘密对相关生化专家及重要物资进行转移；另一方面南满伪政府中央银行将通过铁路秘密运送大批黄金，国民党特工乌鸦计划炸车夺金；除此之外，共产党秘密据点在此间也被乌鸦袭击，抗联特工队队长林胜男计划抓捕乌鸦。各方焦点汇集，在全长六百余公里的南满铁路沿线上演中国版火车大劫案。

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.

因父亲被害，14岁的玛蒂·罗斯（海莉·斯坦菲尔德 Hailee Steinfeld 饰）抵达案发地史密斯堡，作为长女代表家人处理后事。杀死父亲的凶手汤姆·切尼已不知去向，在这枯燥又忙碌的西部小镇上，没人关心杀死异乡人的逃犯何时落网。玛蒂决定自己雇佣警察为父亲报仇，经人介绍，她选择与醉醺醺的警长罗斯特·考波恩（杰夫·布里吉斯 Jeff Bridges 饰）合作，同时，一名来自德克萨斯的骑警拉博夫（马特·达蒙 Matt Damon 饰）亦希望抓获汤姆·切尼，好在德州获得高额悬赏，为了让切尼在本地被正法，玛蒂必须在拉博夫之前抓到杀父仇人。成熟而坚强的玛蒂与罗斯特踏入了保留地，在那里有众多不法之徒，以及暂时逍遥法外的仇人……

故事以一线医护人员ICU医生龚臣与护士长杨珊夫妇为主角，2020年疫情突然爆发，身为武汉医院一线医护工作者的夫妻俩，选择居住在车里随时待命，各自坚守在工作岗位，真实再现武汉疫情爆发时，医护人员在众多病患前，面临的困境与压力。疫情期间，ICU不断接收着重症患者，医生们超负荷工作，龚臣在ICU中不停参与救治，在面临病人以及同为战友的医生离世后直面疫情的风险，在医生职责与家庭责任间，精神压力不断增大乃至爆发，最终夫妻俩互相倾诉、扶持、共同奋战、坚守一线，直到抗疫成功。

西汉年间，经过汉武大帝穷兵黩武的征伐，虽然国力大大消耗，但是却也和宿敌匈奴进入了一个相对和平稳定的时代。在南郡秭归，生活着纯真而美丽的女孩王嫱（杨幂 饰），她天真率性，敢爱敢恨，因美丽容颜而入选宫中。有道是一如豪门深似海，更何况禁忌重重且钩心斗角的深宫内院。王嫱无法亲睹天子颜面，更被奸人陷害打入冷宫。此时正是汉元帝刘奭（刘德凯 饰）的时代，单于首领呼韩邪（涂们 饰）主动示好，愿娶汉家女儿和亲。元帝大喜，并在宫女中选择合适的人选。而倔强的王嫱自告奋勇决心出塞，由此上演了一出流传千古的昭君出塞的传奇……

17世纪末，马萨诸塞的偏远小镇塞勒姆，孔武男子约翰·奥登（夏恩·韦斯特 Shane West 饰）告别心爱的女子玛丽（詹尼特·蒙特戈里 Janet Montgomery 饰）赶赴战场。不久后，怀有身孕...

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夜晚，巨型建筑群的地下停车场，几个人手执冲锋枪，从一辆面包车中窜出摸索前进。突然枪声大作，子弹横飞，他们被一队埋伏多时的武警击毙。原来，这是一组正大拍摄中的电影特技镜头。海滨饭店，某制片厂正在拍摄侦破故事片《玻璃人》中的一组床上戏，可男女主角下装齐整，全穿帮了。导演宋昭气急了，宣布停机。宣发处长老赵来到摄制组，传达了厂里的意见：一是，片名要改得富于刺激性；二是床上戏一定要拍；三是动作戏要请神龙特技队出演。神龙特技队为摄制组带来了勃勃生机。精采的"大闹酒吧间"的首次亮相，令人拍案叫绝。不料，由于摄影技术问题，重场动作戏"砸锅"，全部样片泡了汤，特技队无法接受用汗水与鲜血换来的现实，因此决意解除合同，整个摄制组都束手无策。正在这时，又发生货场民工调戏女演员的事，剧组人员与民工发生冲突，特技队拔刀相助。结果特技队员和宋导演一同被拘留审讯。第二天，特技队员们刚刚迈出拘留所，被前来迎接的摄制组人员的热情所打动，同意继续合作。此后，上下努力，武戏、床戏一切顺利。拍摄接近尾声，特技队长王昕提出压轴戏要精要绝，于是枪击、翻车变成男主角高楼坠地，生擒逃犯。一切准备就绪，宋导演一声"开始"，特技队员林兵纵身跳出楼窗。成功了，人们朝勇士们拥去……

作为一名小有成就的播客，达米安·博斯特很享受自己的单身生活。直到一个固定炮友向他表达了自己的爱意，并发出了最后通牒。如果他在与她妈妈的早午餐上现身，她将明白他对这段感情是认真的。如果他不出现，两人将分道扬镳。达米安陷入了恐惧和困惑，但他必须抑制住逃离自己最害怕的事的冲动。

碧海市,一个昏黑的夜晚，两个男人在一幢古堡进行文物交易，突然，卖者被对方用长剑刺死。被害者名范小庄，曾因走私文物和盗掘古墓被判刑。女警官邓虹和刑警段明海接管此案。凶手是左撇子。邓虹和段明海来到市博物馆，经过冷主任和年轻青铜器专家屈志松鉴定，凶器是青铜剑，但不是出土文物，而是仿古兵器。细雨蒙蒙的黄昏，一身材高大的神秘人来到文物街，从文物贩子老兔处买走一尊东汉时期武士陶俑的头，出价10万。邓虹通过广告和武阳县武术器械厂取得联系，查出了青铜剑初步线索。某夜，老兔和女友麦麦去交货，麦麦见老兔久去不归，便离开等候地点去寻，发现一身着青铜铠甲的武士摔碎了赝品武士头，砍掉了老兔的头。麦麦尖叫一声，回头就跑。武士执剑追赶，被几个巡道工撞上离去。麦麦从此神经失常。两起杀人案手法一致，而麦麦是唯一目击者。邓虹把麦麦带到诊所诊治。邓虹和段明海经过调查，疑点落在在青铜器部工作的邓虹的男友周润兵和冷主任身上。黎子恩医师报告邓虹，麦麦是怕凶手报复和警方的惩罚而装病，在催眠术下，麦麦说出了武士的体征和衣着。黎子恩在邓虹走后，诱使麦麦说出真俑头的藏处，窃为己有，但他的行动已被神秘客掌握。麦麦被带往市博物馆辨认武士铠甲的样式，她在古代武士的蜡像前吓得发抖，真正神经失常了。神秘客夜访黎子恩，黎子恩伺机打电话报警，但神秘客揭露他私吞俑头丑行，威逼他交出俑头，又把他杀死，并在墙上写下一个“周”字。周润兵因此被收审。邓虹从《汉律》看到“盗墓者，断其臂，取其首级”一句话，断定凶手是心理变态的杀人狂。周润兵不承认罪行，他设计夺走段明海的枪逃走。神秘客来到麦麦所在的疗养院，设计吓死了脆弱的麦麦。从调查中发现，博物馆定做五套铠甲，但实际做了六套。根据这第六套铠甲的尺寸，博物馆中只有屈志松能穿得起。屈志松的面目被揭露，凶相毕露，和邓虹在地下室展开生死搏斗。周润兵为救邓虹，惨死在凶手剑下，身负重伤的邓虹终于将凶手击毙。

A family encounters haunted paintings.