三年前太空飞船猎户号坠毁学园都市，由此引发了严重的惨剧，而该事件也促成宇宙电梯恩底弥翁（Endymion）的建设。在恩底弥翁接近完工的前夕，上条当麻（阿部敦配音）和茵蒂克丝（井口裕香配音）揭示了热爱歌唱的少女鸣护亚丽莎。心怀梦想的亚丽莎经过不断的修业和努力，终于得到了试镜的机会，并有可能在恩底弥翁落成的庆祝活动中演唱。这一晚，当麻、茵蒂克丝和亚丽莎在夜归途中遭到史提尔率领的魔法师们的攻击。而学园都市秩序维持部队的介入，无疑标志着魔法侧和科学侧全面战争即将爆发。亚丽莎的体内究竟隐藏着怎样的力量和秘密……本片根据镰池和马（创作）、灰村清孝（插画）的轻小说改编。
高能情感网络剧《心跳》讲述了桀骜不驯、风流薄幸、不懂爱情的“强势男”顾译，与看似软弱，实则果敢坚毅，有勇有谋的“双面女”乔净，二人从相爱相杀到虐心痴恋，高能反转的爱情故事……
旧金山女强人律师克莱尔•库比克（阿什莉•贾德 Ashley Judd 饰）的丈夫汤姆•库比克（詹姆斯•卡维泽 James Caviezel 饰）突然被FBI抓走，送往洛杉矶附近的军事法庭秘密受审，罪名则是在服役时于萨尔瓦多杀害9名平民。震惊的克莱尔不顾一切丢下工作来到洛杉矶，雇佣了当地军事法庭律师查尔斯•格瑞姆斯（摩根•弗里曼 Morgan Freeman 饰），共同与军方指派的年轻辩护律师中尉恩布里（亚当•斯科特 Adam Scott 饰）一起为汤姆辩护。三人的调查取证遭到军方层层阻隔，甚至克莱尔的人身安全也遭严重威胁。坚信丈夫无罪的克莱尔与格瑞姆斯竭尽全力，却发现案件背后真相的复杂度远远超过了众人的想象……
由爱奇艺、灵河传媒、腾讯影业出品，爱奇艺龚宇担任出品人、林楠执导，铁佛担任总监制、南派三叔总策划，白一骢、李莅樱出任总制片人，张鸢盎为总编剧，张艺兴领衔主演的超级网剧《黄金瞳》，预计2018年底在爱奇艺独家上线。 《黄金瞳》改编自白金作家打眼所著的都市探险同名小说，讲述了典当行工作的小职员庄睿，在一次意外中眼睛发生异变。美轮美奂的陶瓷，古拙大方的青铜器，惊心动魄的赌石等接踵而来，他的生活也随之产生了天翻地覆的变化。
雑誌「旅と鉄道」の編集部で働くのぞみ（久保乃々花）は、仕事中の休憩で立ち寄ったカフェでついうとうとしてしまい、編集長からの電話で目覚める。「またやらかした……」と落ち込み、仕事を頑張らなくてはと気を引き締めたのぞみだが、ふと目にはいったメニューの色合いや、雑誌のライターYUIから届いたローカル駅の写真をきっかけに「覚醒」してしまい、時間を忘れて鉄道スポットへと向かっていく……。
讲述一个非职业爱好者组成的地方交响乐团追逐梦想的故事
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.
走偏门的何镇东一次在越南遇袭几乎丧命，幸得王义勇相救，二人结成莫逆。何成巨富后欲从正途，但其助手李彪，日本仔及宝叔不受控制，暗中扩大势力携手贩毒，警方督察日夜监视，想将何绳之于法。未几，三人罪证落入麦手中，乃协议做控方的污点证人指证何，何大感震惊。王独力杀死三人，身受重伤，何无人指证下获得释放。王在离港之际却被大批警员包围……
本剧改编自同名小说，将三个复杂故事交织至一起并遍及整个南非。一场涉及有组织犯罪、走私钻石、国家安全、黑犀牛、中央情报局以及国际恐怖主义的暴力阴谋在开普敦一触即发。
Massaya，泰语的意思是鱼。人如其名，Massaya从小就像小鱼儿一样调皮，不受拘束。她的父亲出自名门望族 ，但由于奶奶误会她的母亲血统卑贱，从出生之日起，她就被父亲的家人轻视与侮辱。时光流逝，她渐渐长大。如奶奶 Rattanamahasarn 夫人期望的一样，她成为 了一位高雅美丽的淑女。但那些仇恨与偏见、傲慢与轻视却也都深深扎入了她的内心，融入了她的骨血。在富 有的Rattanamahasarn家族中，她得到的只有冷眼相待 。她独自一人面对着所有的冷漠与敌意，但内心却仍然期待着一个温暖的港湾。 终于，他——Lak出现了。他玩世不恭，从不认为有任何事可以比酒精和朋友聚会更重要。但在Massaya的眼里，他却像个天使。任何人都不知道，其实Lak 也正一点点地爱上这个独一无二的女孩，Massaya。 横亘在这对儿相爱的人之间的，不仅有血统和...
盖瑞康伦是个不知天高地厚的小贼，在70年代满日战火的北爱尔兰，整日只知狂欢狂醉，令静默的父亲失望万分。当盖瑞触怒北爱共和军时，他的父亲忙将他送往英国，但是行为怪异的他，却被英国警察诬陷为恐怖分子，逼他承认是爆炸案的共犯，为此被判无期徒刑。爱子心切的父亲为救儿子，四处陈情，但却也被关进牢中。在狱中，父子终于有机会做更进一步的了解，盖瑞逐渐知道，在父亲看似软弱的外表下，却有一股不可轻忽的力量与智慧。在和口齿晰利的女律师合作下，盖瑞不仅证明他的清名，也为病死狱中的父亲洗刷污名，并揭发近代历史中，最可耻的一段司法黑幕......