潜行者

1941年的上海，潜伏在汪伪特工总部76号的共产党员方嘉树面临暴露危险，这时候他少年时的童养媳、同为我党地下工作者的陶玉玲带着两个孩子闯入了他的生活，并为了保护方嘉树的潜伏身份与他开始了假扮一家人的潜伏生活。另一方面，方嘉树还兼有军统特工的身份，必须周旋于各种关系中。即使在如此复杂的情况下，方嘉树仍然巧妙地为我党获取了更多的情报和利益。

失忆摩托

影片讲述一位抢劫犯为保住他的钱包殴打一位老太太，这次事件让他想起过去的犯罪记忆，从此他无法继续安安心心地过正常日子。                                                                    阿根廷的失业青年米盖尔干起了抢劫的勾当。他和狐朋狗友骑着摩托车抢走了一个刚刚走出家门的老太太的包。老太太死死地拽住包不肯撒手，他们的车子拖着老太太开了很远...知道老太太撒手倒在地上。事后，米盖尔有些担心老太太被自己弄死了，回过头去医院找到老太太

小人物大智慧，8名流浪汉搞垮两家上市公司#尽情游戏

　　摩洛哥沙漠中的一座煤矿发生爆炸，前去清除地雷的老巴塞尔因公殉职，小巴塞尔因为暴力武器成了孤儿。很多年以后，有一次，巴塞尔（丹尼·伯恩 Dany Boon 饰）在路旁观战枪匪追逐的时候不幸被一颗流弹击中头部。这次的遭遇，让巴塞尔失去了工作，接着导致流落街头。不幸中大幸，巴塞遇到了一群面相凶悍的拾荒者。这群奇怪的人集体生活在一个像阿里巴巴山洞的洞穴中，并且各自身怀绝技。好心的他们收留了巴塞尔，让他又一次感受到了家庭的温暖。突然有一天，当巴塞尔路过两幢雄伟建筑时，认出招致他枪伤和父亲死亡的武器制造商的标志。在拾荒者家族的全力支持下，巴塞尔决定向那些武器制造者们发出报复。在行动的过程中，他们还发现那些非法军火商似乎还在策划一起秘密的军火交易......

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.

准儿媳

住在一起的露珠和秀灿和公公住在一起，因为有外遇的丈夫而伤心的媳妇，在公公的安慰下找到了新的温柔港湾。

英超 热刺vs曼联 20230427（陈凯冬）

重写人生

一个警方督察员，努力的解决纷繁复杂的案件，处于心里崩溃的边缘。故事由两个层面构成。第一层是讲述了一起犯罪事件的故事，其构成了影片的骨架。而在事件进行过程中，另一层主题显现主角的心理体验。影片中那混合着声响、音乐的逼真画面将观众拖向Marek思想的最深处，让观看着面对质疑：到底这是现实还只是个幻觉？那儿才是现实世界和我们对其感知之间的界限？什么让痛苦意味深长，什么是生命中真正重要的

两不疑第二季

大辰国帝后因意外互换了身份，原本两看生厌的人却因为互换体会到了彼此的难处。在互换的过程中，逐渐开始互相理解、互相信任。在边疆告急的危机关头，萧锦昀（实际为徐钰）为平定边境御驾亲征，最终凯旋而归。就在帝后二人克服万难顺利换回身体之后，鞑靼女王却突然入宫。与此同时，朝野之中，三王爷想要夺权的心思昭然若揭......

22-23赛季NBA常规赛 湖人VS太阳

12月20日 22-23赛季NBA常规赛 湖人VS太阳

地狱厨房(美版)第十九季

戈登拉姆齐新一季的烹饪比赛移师拉斯维加斯开始了，谁能笑到最后赢得终极大奖——戈登拉姆齐地狱厨房餐厅太浩湖店的主厨职位？

北漂爱情故事2016

北漂族张洋，因不满整天被领导骂，愤然辞职，决定与学长大崔创业，两人变卖了最后的家当，打造一款相亲APP。APP做好后，两人极尽可能挨家挨户的推广宣传，而一个月后，仍然一无所获，挫败的大崔和张洋发生争执，分道扬镳。倍感失落的张洋决定放弃，就在这时APP迎来了第一位有需求的会员张西西，项目经理，容貌未知，气质上乘。张洋为了留住会员，决定亲自赴约相亲，伴随着约会时间的临近，一场0元投资，1000000收益的爱情游戏悄然开启。

ANGOLMOIS元寇合战记

1274年，秋。　　一艘流放船在暴风雨中驶向对马。目的地是流放地对马。御家人宗助国的女儿－辉日姬在对马迎接了流放船。　　之后举行了接风宴，而在宴席上，流人们知道了一件可怕的事。从高丽出发的蒙古高丽大军，正向日本前来，而这些流人们，就将被送上战争的最前线，成为守护对马的军队人员。　　“为了对马，请你们牺牲吧”辉日姬冷漠地对流人们说