邋遢潦倒的中年大叔筱田良多（阿部宽 饰）是一名私家侦探，早年间他作为作家出道，然而自从处女作之后就再也没有令人称道的作品问世。他满腹牢骚，自视清高，绝不愿为了钱去创作没有“灵魂”的作品。现实生活中处处为钱发愁，拿到钱后又转瞬扔进赌场，全然没有指望。母亲淑子（树木希林 饰）独自住在团地，在老人家的眼里，再差劲的儿子也有别人无可比拟的优点。良多原本拥有美满的家庭，只不过前妻白石响子（真木阳子 饰）再也无法忍受他的作为，离婚后带着儿子真吾（吉泽太阳 饰）另外过活。好不容易与儿子见上一面，良多父子以及随后赶到
本片荣获2015坎城影展国际影评人奖，由阿根廷导演桑迪亚哥米崔，以不寻常角度探讨性侵议题。 为实践心中的政治理念，宝琳娜放弃前途光明的律师生涯，来到家乡附近的边境贫乡教书。工作上的困难并未挫折她的理想，但宝琳娜却在深夜返家时遭到强暴，其中甚至包含她所教导的学生。指控或原谅，究竟谁该为暴力负责，以社会改革为职志的她面临天人交战。
四个富有的男人(快乐的男人)引诱有权势的女人 从政治精英那里得到合同 从富人那里偷东西，给穷人 和城里最性感的女人发生性关系 他们面临着前所未有的挑战 因为他们与一位声名狼藉、腐败的政客对抗 后者计划拆除一个村庄 建造一座购物中心 这四个人计划拯救村里的穷人
枯燥严肃的家庭氛围让年轻富有朝气的莫利（蕾希·特纳LaceyTurner饰）感到忍无可忍，身为家中的长女，父母对莫利的严格管教像一块巨石压在莫利的胸口让她无法喘息。在18岁生日上，压抑已久的莫利只能通过酒精麻痹痛苦，喝得烂醉的她徘徊在街道上。可以说是偶然，也可以说是上帝的指引，在不知不觉中，莫利来到了国家陆军征兵处的门前，而这一“意外”将永远改变莫利的命运。背负着巨大的压力，莫利成为了一名士兵。刚开始，初来乍到的她并不能适应军中的生活，但随着时间的推移，她越来越感觉到，自己做出了正确的选择。在不断的自我成长和严格的自我要求中，莫利逐渐发现人生的方向。
电影《空白》突显现代人与人的关系、家庭羁绊与媒体的真实面目，什么是真的？谁是正义？思绪在意想不到的地方朝着危险方向上被放大，反映了现代社会。登场角色们，在爱和恨的尽头呈现出全体受害者与加害者的样子，将乍看愤世嫉俗的题材混用讽刺的黑色幽默的手法来描绘。这一切的开端始于一个商店盗窃未遂事件，一名女中学生在超市的化妆品柜台被店主看到偷东西而逃离现场，但一出国道就发生车祸事故身亡。女学生的渔夫父亲添田充坚信“女儿不可能偷东西”，让怀疑加剧，并追捕了事故的相关人员。另一方面，由于父亲的压力与媒体报导的加温下，让事故契机的超市店主青柳直人，开车的女驾驶陷入混乱与自我否定。
You think you know Mo’Nique? From staring down a racist teacher to her grandmother’s sex warning, she spills all in this stand-up comedy special.
法国少女将自己一生豪放性爱经历，一一写在日记上……放荡、情欲、淫乱……
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.
有人说，世间是一个大苦海，人在海中，肉身是船，魂是船里的人，驶向彼岸。 春秋鼎盛的大乾王朝国运昌盛、四海宾服，然而强盛的表面之下暗流已然涌动，远敌近邻虎视眈眈，八大妖仙蠢蠢欲动，武温侯洪玄机权倾朝野，太上道主梦神机监察天下。 在这样一个大争之世里，少年书生洪易向着世道，发出了第一声质问。洪易是当朝第一权臣洪玄机与太上道上代圣女梦冰云之子。幼年丧母，身为庶子，处处受人欺压，但是这不能阻挡洪易求学之心。机缘巧合之下，洪易踏上无比艰险的武道双修之路，在命运的压迫下奋起反抗，挫败了重重强敌，成为一代传奇。
位于九州的一个海港小镇，狂孽的台风时常光顾，小镇有如颠簸于惊涛骇浪中的扁舟，惊恐而孤独。冷漠孤寂的美丽女子泠（穗花 饰）独自经营者叶月葬仪社，丈夫因故身亡，她的心也有如消亡一般。只是，虽然她言说早已看透生死，但在暴风雨之夜依然会感到恐慌，在原欲面前依然会躁动难耐。她是男人渴望把玩的尤物，是女人严重卖弄风骚的妖孽，是一个谁人也无法参透的存在。
Project sees Keegan-Michael Key and Jordan Peele in front of a live studio audience bantering about a topic weaved between filmed shorts and sketches.
欢欢生活在一个富裕的家庭，她的爸爸（闫霖飞饰）是广告公司的老板因获了一个奖不愿意接小活，公司已经有半年没有接活了，整天就和客户吃喝，多次需要靠家里和老婆（陈昊明饰）来救济。欢欢的妈妈在公司是一个女强人，在这样的情况下家里的父母关系面临危机，欢欢的爷爷奶奶看到此情况非常的着急想要拯救他们的婚姻，于是找到算命师，算命师给他们出了一个主意：只要让家里的儿子和儿媳妇多生了一个孩子就可以拯救他们的婚姻。于是欢欢的爷爷奶奶就想了一个办法：装病，癌症晚期最后的愿望就是希望他们能够多生一个孩子，于是展开了一系类的行动，丈夫李强和公婆都要求再生一个，可老婆春兰就是不同意，后来春兰勉强答应再生一个，却要求李强遵守“约法六章”。戒烟戒酒，李强我行我素，春兰通过逆境改造李强，两人和好，欢欢的妈妈一直喝着欢欢的奶奶给的汤药却不见成效，就在欢欢的生日时候大家早已把这件事情给忘了，却得知欢欢的妈妈怀孕了，一开始欢欢很开心，但是后来她担心弟弟出生爸爸妈妈就不会再爱她了。后来想不开在家人的极度劝说下，一家人走向幸福。