超变战陀

超变战陀是风靡世界的全新陀螺竞技运动！通过将超能环叠加在主陀螺上，超变战陀就能瞬间爆发出奇迹般的爆速能量。为了追求最强“战陀王”的称号，世界各地的陀螺选手都汇聚在战陀学院，上演着热血沸腾的陀螺对决！左旋PK右旋，开启最强决斗！！！一起来战斗吧！

零之使魔第四季

完结季

欢迎陌生人

艾丽思突然来到久已疏远的哥哥伊桑的豪宅，试图恢复旧日关系，但随着伊桑女友迷斯蒂的到来，三人之间的关系逐渐变成了一场烧脑游戏……

没女神探

阿宝（王菀之 饰）拥有着一份稳定的工作和一个交往多年的男友，两人携手步入婚礼的殿堂组成家庭仿佛已经是板上钉钉的事情了，在外人眼中，阿宝爱情事业双丰收，堪称人生赢家的典范。然而，令阿宝没有想到的是，某一日，男友竟然提出了分手，这感情上的挫折让阿宝陷入了崩溃之中，工作上亦连连失误。 　　就在这个节骨眼上，上司交给阿宝一个困难重重的任务，阿宝潜伏在鱼龙混杂的模特圈，却因此遇见了娘娘腔富二代成大志（周柏豪 饰）。种种误会让两人三番五次的过招，随着时间的推移竟然生出了别样的感情，一个浪漫而又爆笑的爱情故事就此拉开了序幕。

蜜月

現代家族が抱える闇をえぐる、衝撃の問題作。 　　榊英雄監督7年かけて映画化、親としての感情をぶつけた新境地。 　　山奥の古民家。優しい陶芸家の夫と穏やかに暮らす美月32歳。実家で心に病いを抱える母親の面倒を看ていた弟が15年ぶりに現れ、母の死を告げる。封印していた家族の過去があふれ出す。愛する夫との暮らしを守るためにも美月は否応なく過去と対峙対決する...

出走女朋友

　　身为导游的辉与慧是一对同居多年的恋人，二人仅管爱对方，却未提结婚二字，一心只想过着神仙眷侣般的浪漫日子…时移势易，慧渐对这种同居生活感到厌倦，渴望能真正拥有一个安定温暖的家，但辉对婚姻心存恐惧，怕把爱情变成责任，始终不肯向婚姻低头。辉的邻居－肥东夫妇常因各自精彩的生活而视对方甘无物，终日打架吵闹。肥东因好赌成性，欠下巨债而差点成了亡命之徒，其妻莲则不安于现状，经常红杏出墙。二人因此疏于对女儿晴的照顾，更常把晴带到辉家托付辉、慧二人代为照顾……

高原激战

The winter of 1917, the North-East front, the final clashes of the Great War. An Italian stronghold situated at 1800 metres above sea level, on the Asiago plateau, described in the novels of Mario Rigoni Stern. It’s snowing everywhere; the Austrian trenches are so close that you can hear the enemy soldiers breathing. A hundred years since the outbreak of World War I, maestro Ermanno Olmi describes with Torneranno i prati his vision of a conflict that cost the lives of 16 million human beings, just as it was brought back to him by the memory of his father, called to arms at 19 years of age, to find himself within the bloodbath of Carso and Piave. A drama that scarred his youth and the rest of his life, just like millions of others.

纯纯的小时光

影片以现代艺术校园生活为背景，主要讲述了游戏少女夏晚，意外偶遇高冷学长辜寒飞，误打误撞进入南海市第一艺术中心，在冷酷傲娇学长及乐团成员间引发了一场场啼笑皆非的事故，最终从音乐小白晋升为天才鼓手并收获爱情的感人故事。

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.

10月10日 23-24赛季NBA季前赛 凯尔特人VS尼克斯

尤妮的婚途

尤妮是一个印度尼西亚少女，她意识到当她的梦想变大时，她周围的世界就会变小。她即将完成高中学业，有一个远大的梦想，她认为一切都是可能的。然后有一天她被一个她几乎不认识的男人求婚了。她拒绝了这个建议，但第二个建议来了。尤尼仍然相信她的梦想，家人也是。但是这次出了点事。一个神话，关于你不能拒绝两个以上的建议；否则你永远不会结婚。直到有一天，她的老师来到她家，成为向她求婚的第三个人。

21-22赛季NBA常规赛 森林狼VS骑士

21-22赛季NBA常规赛 森林狼VS骑士