1940年，波兰冠军拳王泰迪参与华沙围城保卫战的武装部队，华沙被破，他在逃亡法国途中被捕，成为第一批被送往奥斯威辛集中营的战囚。集中营里朝不保夕，纳粹士兵视为游戏的地下拳击赛，成为泰迪为生存而拼搏的重要战争。然而，一次次激励人心的胜利，却让纳粹长官警觉到囚犯的反抗意识，转而强化管制，眼见冲突逐渐升温，获胜已然成为集中营里残酷的生存之路。波兰新锐导演马西耶·巴尔切夫斯基首部剧情长片，将战后被忽视的华沙拳王故事搬上大银幕，背号“77”的囚犯在三年内赢了40战，他的奋斗故事成为奥斯威辛囚犯幸存者的集体记忆。波兰金奖演员彼得．葛洛瓦兹基透过长时间密集的身体训练，精采演绎波兰影史最“痛”的角色。“我的爷爷是集中营幸存者，这个故事一直存在我的血脉之中。”――马西耶·巴尔切夫斯基
《血溅鸳鸯楼》打虎英雄武松醉打蒋门神，却与张团练结仇。张团练拉拢武松入张都监账下，刻意结交；张都监也利用丫鬟玉兰拉拢武松，武松不明其究，受宠若惊，却被两人蒙骗，误伤好汉牛通。得知真相的武松欲离开，又被栽赃盗窃。玉兰为救武松，魂断飞云浦。武松返回鸳鸯楼，手刃仇人，从此走上另一条江湖路。
NBC已续订《芝加哥警署》第三季。
《翻山涉水上学路第二季》讲述了世界上贫困和偏远地区孩子们的上学经历。镜头从他们的生活环境开始，并继续展示他们上学之路，直到最后达到他们的目标。本季从埃塞俄比亚、尼加拉瓜、蒙古国、巴布亚新几内亚到墨西哥，见证世界各地的偏乡孩子，克服艰险万分的上学路。上学之路是我们从小就熟悉的道路，但没有一条上学之路是这样的，这些孩子几乎每天都要面对危险，他们要忍受严寒、翻山越岭、边划船边舀水、只为了过上更好的生活。沿途的风景或壮观、或优美，装点着翻山涉水的上学路。
一个爱玩游戏的男人要找回他妻子失踪的猫，这让他不得不直面周围光怪陆离甚至是危险的元素，迫使他直面自己的恐惧，重新思考生活的策略。
现代头等杀手楚子乔意外殒命，穿越成大将军嫡女，却受姨娘庶妹欺负。这怎么行，于是乎扮猪吃老虎，换个世界也照样为自己讨回公道！未婚夫被庶妹抢了？是我的就是我的，即使不是我的，也轮不到你！硬是塞给她一个病秧子？没关系，她可以保护他，但是，谁来告诉她，这个腹黑狡诈的男人是怎么回事？
父子俩是重庆南山一棵树的观光线路司机。老赵一直忙着帮儿子物色一个"好对象"，而单调的驾驶生活则让年轻气盛的小赵内心很不安定，状况百出。平静的生活底下，小赵本来就因为老赵当年酗酒导致母亲死亡的事故一直不肯原谅父亲，最后两人关系能否找到新的平衡。
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.
1925年，进步少女钟离钟离(唐嫣 饰)在振兴民族的爱国热情激励下，报名参加了国共第一次合作期间的特训班，和罗逸菲(王笛 饰)、谭睿玲(吕一 饰)两个女孩分到一个小组，在残酷的训练和执行任务过程中结下深厚的友谊。在一次行动中，钟离与上司精英特工贺俊峰(罗晋 饰)意外相遇，性格迥异的两人却宿命般地迸发出爱情的火花。因为特别行动组外派名额，罗逸菲和钟离反目成仇；柔弱的谭睿玲则被特训班最高指挥高义山利用。随后，三个女孩又先后进入了高义山主持的特别行动队，为北伐战争作出重大贡献。但行动队清除异己的行为让钟离对行动队的正义产生了怀疑。上司何芸为保护钟离牺牲，钟离大受震撼和教育，在最艰苦的环境下，孤军战斗，保护了一大批进步人士，并且多次挽救罗逸菲和谭睿玲，揭穿高义山的反动面目，帮助她们找到正确的人生方向......
卖二手车的林凡，到白马摄制组送道具车，邂逅了群演米娜，敬业又认真的她，博得林凡及场务白以辰的好感米娜被很色的广告商陈总邀请到ktv，幸亏林凡及时赶到，阻止了猥琐的陈总，林凡误以为米娜是个明星，撒谎自己是林氏集团的执行总裁，用车行的豪车接送米娜，米娜也很苦恼，想要澄清身份，但又怕失去林凡。真正的富二代白以辰意图让米娜成为真正的大片女一号，私心极重的黄导百般阻挠。林凡几次都想坦白自己的身份，但总是错过，米娜很坦然的告诉林凡自己仅是个小演员，但白以辰用计揭露了林凡卖二手车的身份，使得米娜愤然离去。黄导欲对米娜行凶，林凡再次出现保护米娜，自己却身负重伤。兜兜转转，有情人因“爱”终成眷属。