Nanthisa,thedashinggirlofthecompany,sheistheheadofpersonaldepartmentandisthepersonwhoseshouldseeothertofollowthecompany’srulesbutshewastheonewhoalwaysbreakit.Shecometoworklateeverydaybecauseherhouseisfarawayfromthecompanyandshehastowaitforthepermissionfromhersgrandmotherandmotherbeforegoingtowork,whichresultinPhimcommandinghertorenthiscondoorelsehehastokickheroutfromthecompany.Nanthisahasbadattitudetowardmenbecauseofhowhergrandmaandmotheralwaystoldherabouthowbadmanareandtheirbitterloverelationwiththeirhusband.AndseeingmanygirlscomeoutfromAnggurt’scondoalreadymadethingsbetweenthembad.Inthemeanwhile,MarutaskNannalintomarryhimbutAreewhoisAnggurtandNannalinmotherdeniedtheproposalbecauseshedoesn’tlikeMarut.ShegivethereasonthatNannalincan’tmarrybeforehersbrotherwhichmakeNannalintomatchmakebetweenherbrotherandherfriendswholikeAnggurt.NannalinaccidentallymakeherfriendsmisunderstandandthinkthatAnggurtiscrazyaboutthem.HedecidedtoaskNanthisatobepretendedgirlfriendtochasethegirlsawayfromhim.Nanthisaacceptedhisrequestbecauseshedoesn’twantthegirlstobehistargetandbecausethemoneythatheofferedBecauseshebelievethatshecan’tfindaboyfriendbeforethenextvalentineandshemightbekickedoutfromthecompany.
高中少女渚凛（杉本有美 饰）即将迎来16岁的生日，但是她却发现自己的身体正悄悄发生着变化。生日当天，凛受到强烈刺激，右手变成了削铁如泥的魔爪。仓皇回到家中的她从父亲洋二郎（津田寛治 饰）口中得知，自己竟是变异人“蛭子”的族人。接着她眼睁睁看着父母被隶属于日本政府的特种部队杀害。愤怒的凛唤醒了身体内的魔性，在家乡附近的商业街大开杀戒。此后凛遇到蛭子一族的美男子首领如月（坂口拓 饰）和高中女生玲（高山侑子 饰），如月发誓建立一支足以与人类抗衡的战斗少女部队，而玲正是这群蛭子女孩的战斗教练。种族战争一触即发…… 本片分为三章，各由坂口拓、井口昇、西村喜廣三位导演执导。
1944年……德军与苏联列宁格勒方面军为争夺纳尔瓦地峡进行了一连串战斗。7月，苏军攻占了纳尔瓦，这座古城九百年来一直是俄罗斯和西方世界的分界线。纳尔瓦身后的坦能堡防线是爱沙尼亚首都塔林的最后防线，一群20岁出头的爱沙尼亚青年人志愿加入武装党卫军亲卫队第20师，开始在东线迎头痛击苏军装甲部队，为反抗苏联的占领而战。 这不是爱沙尼亚第一次沦为东方和西方、德意志人和斯拉夫人交战的战场。从楚德湖的冰上大战算起，这一战斗已持续了七百多年，夹在中间的爱沙尼亚人也不可避免地被双方裹挟其中，成为历史的牺牲品。…… 到了9月，由于芬兰宣布停止同德国的军事合作并签订莫斯科停战协定，腹背受敌的德军决定撤出爱沙尼亚。苏军尾随着德军一路前进直至爱沙尼亚的首都塔林，红军中的叶沙尼亚（俄罗斯化的爱沙尼亚人）士兵也亲眼见证了，那面象征着爱沙尼亚民族独立的蓝、黑、白三色旗，于德军撤离的9月18日在塔林市的象征——赫尔曼塔悬挂了四天之后，终于在9月22日被苏联的红旗所取代。…… 占领塔林，并非苏德双方在爱沙尼亚的最后一战。……11月，在萨雷马岛泥泞、茂密的森林中，叶沙尼亚士兵顶着德军舰艇的炮火，驱逐了爱沙尼亚最后一批德军。大规模的战事终于结束了，但和平和自由仍未降临这片小小的国土，战争给人们带来的伤痛仍难以抚平…… 这，就是爱沙尼亚人的1944年。
蒂姆 韦伯在其父亲去世后回到了位于萨默赛特的童年小屋，去寻找打破乡村宁静生活的不详之物。
这是一场发生在世界末日即将来临时的末世之恋。流行病学家苏珊（伊娃·格林EvaGreen）与餐厅主厨麦克（伊万·麦克格雷格EwanMcGregor）相识、相恋，但无奈此时此刻的世界正在遭受一场新型流行病的侵袭。随着流行病的蔓延，患者会伴随着情绪失控逐渐丧失味觉、嗅觉、听觉、直至最后丧失视觉。虽然苏珊和麦克都尽量努力避免患病，但当作为厨师的麦克不再能尝出食物的味道，作为科学家的苏珊也渐渐丧失感觉，这对末世情人便已知晓无人能够逃脱这场灭顶之灾。两人于是选择珍惜仅有的彼此，最后在逐渐模糊的视线中拥抱住对方。
《 圣斗士星矢 冥王神话》动画全集故事以18世纪的欧洲为舞台，在其时的意大利某小镇上，有着日本血缘的孤儿天马和喜欢绘画的亚伦是一对挚友。某日亚伦遭到大圣堂的神父 ( 睡神修普诺思) 的指引，去到一处被称为“地面上的极乐净土[1]”的当地寻觅“实在之红”。在那里亚伦遇到了一个叫“潘多拉”的奥秘少女，自此亚伦的身体开始发生了改变。 另一方面，遭到天秤座的黄金圣斗士童虎的举荐，天马决议前往希腊圣域接受圣斗士的练习。在圣域，天马遇到了儿时的玩伴，一起也是亚伦的小妹萨莎。几年前被人收养的萨莎，原来竟然是女神雅典娜的转世。 2年以后，天马终于成为天马星座的圣斗士。另一方面，遭到潘多拉引导的亚伦，体内的冥王哈迪斯的魂灵觉悟，并向圣域发起全部攻击
电影《战国之无艳》构建了一个全新的战国英雄宇宙，鬼谷子座下四大弟子孙膑、庞涓、苏秦、张仪，分别持“王道”、“权术”、“征伐”、“忠勇”四大名剑构建了一个甲子，整整六十年的战乱中的平衡，但作为鬼谷子唯一女徒的钟无艳将持最平庸的“百姓之剑”，为爱，天下苍生而战，打破这场百年动荡
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.
雪儿（钟楚红 饰）是一名舞蹈老师，年轻貌美才华横溢的她深深吸引了富商戴佳乐（楚原 饰）的目光。戴佳乐为了追求雪儿不惜一掷千金，然而他所付出的一切在雪儿的眼中都是这样的不值一提。雪儿喜欢的，是名叫阿化（梁家辉 饰）的青年艺术家，两人都能够在彼此的身上找到艺术的共鸣，可谓是灵魂伴侣。
本片是由著名演员王钟编导的社会写实电影。吕良伟与李修贤在片中均为中越混血儿，由越南逃至澳门；吕于香港出生，可在港居留，乃与李分散；郑则仕饰吕之叔父，为一干练警探，即介绍吕加入警界，派其作卧底。后郑一次与越南匪徒激斗中遭杀害；而李则被牵涉入这宗凶案……
该剧讲述明宪宗年间，宦官专权，残害忠良。侠客赵怀安在营救忠良行动中，引来东厂主万喻楼和西厂督主雨化田的追杀。赵怀安等人一路亡命，投宿龙门客栈。江湖险恶充斥血雨腥风，荒凉大漠儿女情长中。