由柳广司创作的人气作品《JOKER GAME》（ジョーカー·ゲーム）在今年1月上映真人电影版之后好评如潮，而官方也趁热打铁，在近日宣布将把本作品制作成TV动画播出。
影片讲述了从九十年代末到当下的近二十年期间，互联网行业在中国从发轫、发展到行业泡沫再到高速爆发行业成熟的过程。影片选取了三位有代表的行业人物，程序员楚振辉、秦磊和投资人徐顺之。影片围绕楚振辉、秦磊，并以徐顺之的视角展现了一个程序员向创业者的蜕变，讲述他们三人在互联网大潮中创业、守业以及行业升级的故事，表现了中国互联网人的中国精神和民族情怀。他们将成为新时代的中国合伙人，而中国互联网行业的创业热血正在继续生生不息。
Semih’sgirlfriendsuddenlybreaksupwithhim.Insearchofanswersabouttheirrelationship,hemustsoonconfrontwhathehadlongignored.
少年秦墨为寻双亲被害真相，踏出间荒禁地，誓要成为全能高手，争做这天地霸主！一人一狗，坑蒙拐骗，一路逆袭，注定要掀起一场腥风血雨。
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.
非洲塞伦盖蒂草原上的早期人类，原来只是上帝桌上玩物，人类进化得再辛苦，上帝翘着脚也翻手为云覆 手为雨，更随时放出瘟疫，了结一切。
年轻貌美的小慈为了医治母亲的常年病痛及彻底改善家庭贫困的生活，毅然投入了五彩缤纷的银色生涯，虽然明知这将会是一段充满荆棘的路程，但在其心灵中却认为一切尽其在我，出污泥而不染者大有人在，但是这可能吗？社会名流钱傲垂涎小慈美色，利用其本身的多金及小慈一心想成功成名的心理，终于得逞兽欲，命运的坎坷加上遇人…
A young man searches for his loved one in a city thrusts into chaos by the sudden arrival of a mysterious and threatening alien presence.
Xの衝撃! 未体験の戦慄!これがアナザーXXの世界だ! 女の肉体が、戦慄に染まる。 かつてない猟奇殺人魔が出現。第一被害者は若い女。両乳房を切り取られていた。女検死官?水木恭子は検死に立ち会ってから、身近に異様な気配を感じはじめる。第二?第三の殺人が捜査陣をあざ笑うかのように起きた。その手口は異常をきわめ、女の体を切り刻む冷酷なものだった。恭子は犯人をサイコパスでは、と推理してみる。新米刑事の恵美はいち早く猟奇犯に迫るが逆に囚らわれてしまう。主人公の女検死官?恭子に「XX美しき標的」の夏樹陽子が扮し、プロファイリングで猟奇犯に鋭く迫る。また、グラビア?クィーンの西尾悦子が猟奇犯の餌食となる新米刑事の恵美役で出演。体を切り刻まれながら犯される役柄を熱演している。監督は「XX美しき標的」の黒沢直輔が驚異の《エロチック?サイコホラー》に仕上げている。
A Jewel thief named Frank Stone is a very deeply disturbed, anti social, milquetoast who finds no joy or humor in anything - until he awakens from a deep coma.
A group of college friends rent a smart house for a weekend of partying. Later, they start to realize that Margaux, the house's super advanced AI system, has sinister designs for them.
音乐人叶浩（林峯 饰）与当主持人的天晴（盛君 饰）结束了爱情长跑，走进了婚姻的殿堂。婚后，他们搬进了新房。房中遗留着前房主的一个玩偶，天晴对此非常喜欢，给它取名叫吉咪，伹从此怪异现象环生。玩偶有一双十分诡异的眼睛，时刻监视着新主人的一切动向。不久，天晴怀孕了，经检查是双胞胎，而叶浩的事业如日中天，又登上一个新台阶。由于新作品很受公司高层赏识，他毎天要加班很晚才能回家，就在此时，一连串怪异的事情接踵而至，天晴莫名跌倒，早产只生下一男孩，然后行为举止怪异，而叶浩的新作竟牵扯到一命案之中。天晴的妹妹（吴千语 饰）被一高人指点方悟，原来这所房子大有玄机......