“投手大谷，打者翔平。”凭借坚毅、热情同埋自信，日本棒球手大谷翔平由家乡小镇一直打到世界高峰，联同教练、队友、经埋人、导师接受深度访谈，揭开传奇背后的奋斗故事。
影片《黑色轰炸机》以第二次世界大战为背景，讲述了一段黑人为保卫祖国而战的故事。在二战期间，美国需要更多的飞行员，国会提出是不是可以试验，组成一个叫塔斯克吉飞行队，在阿拉巴马洲建立试验性的飞行训练中心，训练了一批黑人飞行员与白人共同保卫自己的家园。
一个女人庆祝她40岁生日的方式是让她的三个最好的朋友来和她和她的丈夫一起度过一个长周末。这名妇女在过去两年中一直坐在轮椅上，这导致她把自己孤立在家里。她的丈夫陪在她身边，因为他对导致她坐上轮椅的车祸感到内疚。在为期三天的庆祝活动中，我们发现每个人都在为自己的生活和身份而奋斗。当一个最好的朋友犯了一个可怕的错误，在她的生日那天背叛了她，每个人都立即被迫不安地审视自己的生活和局限性。
内详
电影《教数学的体育老师》讲述一个梦想破灭后的体育老师——张志强意外成了一个超级烂班的数学老师。开始他的动机只是为了追求爱情，但是在与班上学生相处的过程中，渐渐找回了自己磨灭的信心。他改变自己的同时，也改变了差生们，当然最后也赢得了爱情。影片保持着喜剧风格，轻松而又幽默的故事来自生活中常见的笑话，看似不可能的事往往就能发生，但不变的是朴实感人的内核。该片故事里的高中生活有考试压力也有青春萌动，有生活负担也有为梦想的奋斗，有欢笑也有泪水，真实而不狗血。片中每个角色都充满朝气和活力，使得整部影片也是朝气蓬勃，是青涩却很养眼的高中时代的集体回忆。现实里千千万万正在奋斗或者迷茫中的人，帮助他们找到生活的目标和意义才是影片所塑造的独特价值。
印度导演SudhanshuSaria的首部电影，挑战了印度将同性恋入罪的恶法，在全球引发关注，被国际媒体形容为「一场温柔的革命」。影片获邀全球25个影展，并不仅名列美国SXSW影展十大必看电影，更勇夺以色列「特拉维夫同志影展」观众票选最佳影片大奖。杰是个成功的华尔街交易商，他想趁到孟买开会的48小时，顺道享受美好的周末时光。他童年好友萨希除热心为他安排，并决定放下一切烦杂事务（包括他那凡事漫不经心的男友阿力），陪他前往西高止山脉一游。他们展开了一段远离尘嚣的旅行。不算熟悉的两人，因为共处一室而逐渐熟识。事业陷入困境的萨希，强打精神逗乐着杰；富裕俊帅的杰，则为妻子难容于母亲歧见而烦心，当然还有他不为人知的另一性向。由于彼此生活悬殊，萨希一路上努力压抑着对杰的爱意，并刻意错失杰的暗示，使之宛如深谷回音般，一次次消失在层层的山峦间。爱情跟好天气一样，不容错过。眼见即将返回纽约，杰在会议结束后，终于情绪失控对萨希表白。萨希认为杰该面对真实的自己，但夹在杰与阿力之间，他又该如何面对自己心底的声音呢？电影背景呈现了孟买贫富阶级的悬殊，难以消弭的族群通婚歧见，并自嘲了保守民风对同性之爱的惊奇。
城里赶上了经济危机，包工头保根带着小八叔邓久、村民大齐几个兄弟回到了家乡。保根妈提醒保根对自己媳妇好点儿。保根正要和妻子戴小琴亲热，却被五福主任注意“计划生育”的广播给打断了。小琴对保根四年没回家表示了极大的不满和抱怨，然而保根没往心里去，他觉得自己是为了家的红火日子挣钱去了，现在回来的也不迟。猪场老板陆添很关心员工戴小琴，并且承诺如果她要离开那个不回家的丈夫，他愿意等她。邓久觉得回家没活儿干，就是因为家里的地被外乡人陆添包了，他找到陆添要地，被保根和五福拽了回来，他就把陆添的种猪毒死了。陆添关心小琴的事儿被保根知道了，家里掀起了一场离婚风波。陆添澄清了和小琴的清白关系，五福代表村民留住了他。邓久为了给保根出气用铲车撞倒了猪圈，还误伤了小琴。在救援过程中，小琴感到自己在保根心中的分量，她告诉了陆添自己的选择。在田间，保根打了陆添，却不让他离开邓家坡村，因为村民们致富需要他。保根准备把家装修好了就和小琴办离婚，出院的小琴真切地感到了疼她爱她的人就是这个背井离乡，四处打工的男人，他是个靠的住的男人，两颗陌生了的心又紧紧的贴在了一起。保根带着邓久、大齐等兄弟们修好了陆添的猪场，唱着快乐的歌曲，热情地投入到家乡的经济建设中……
本片改编自同名小说，女主角真织因为患上疾病，每天都会失去记忆，男主角小透以一次虚假的告白为契机，决定守护真织的幸福。电影描述了他们之间感人的恋情。本片将于7月29日在日本上映。道枝骏佑、福本莉子将双主演电影《即使今夜，这段恋情将从世上消失》，这是他们在《消失的初恋》后再次搭档，也是道枝骏佑的首部主演电影。
當紅演員蕾妮艾倫不僅在連續劇中擔綱女主角，精湛的演技更是讓她榮獲艾美獎的殊榮，但就正值演藝事業巔峰時期，她發現自己罹患了阿茲海默症，如此劇烈的打擊也讓蕾妮和女友伊娃決定換個環境，在擁有優美海景的郊區重新展開新生活。隨著日子過去，蕾妮逐漸淡忘周遭的一切，面對身旁伴侶的惡化病情，伊娃該如何打起精神面對這一切？蕾妮是否會忘記如此深愛的女友？
Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.