《小姐不藏私》由派翠克带领《小姐不熙娣》的“不吸地团”小姐姐们，以自身的兴趣领域与斜杠专业介绍不藏私口袋名单，展现私底下不为人知的一面，带来最趣味的流行资讯！
肥胖忧郁的哈维尔（Carlos Areces 饰）出生于西班牙一个小丑世家，他的父亲死于内战，生前曾嘱咐这个背负了太多痛苦的儿子做一个悲伤小丑。时过境迁，成年后的哈维尔求职来到一家马戏团，遇到了当家小丑赛吉（Antonio de la Torre 饰）以及美艳的杂技女明星纳塔莉娅（Carolina Bang 饰）。他们是一对情侣，生活中的赛吉嗜酒狂暴，经常对纳塔莉娅饱以老拳，后者虽然痛苦不堪，却又无比沉缅于这份变态的暴力之中。哈维尔爱怜这株时常为暴风雨摧残的柔弱小花，而纳塔莉娅也渐渐喜欢上哈维尔的单纯
由于兄长投资失败，依晴被迫嫁进盐城的首富钱家。钱家的大太太很欣赏依晴，一心想让依晴接过自己的位置。钱家的男人钱老爷到老还玩世不恭，儿子钱日成只想干革命。三姨太兰芝憎恨大太太和钱家，于是设下圈套，欲置钱家于死地，却不想被大太太一一化解，并反将三姨太勒死。与此同时，钱老爷也重病不起，钱日成被刘大帅抓进大牢。危机关头，依晴凭借自己的智慧和勇气救出了日成，保全了全家。依晴最后才明白，兄长投资失败全把拜大太太所赐，钱老爷病重也是大太太下的药，而大太太的目的只有一个，让依晴做钱家的儿媳妇，做第二个自己，去经营和保全钱家的家业……
影片讲述了一天之中阴气最重的时辰凌晨两点半，正是人类阳气最弱的时刻，为阴阳交汇的时刻，此时，是医院病人死亡率最高的时间点，也最容易在此时撞鬼。凌晨两点半，古墓中万鬼爆出,五灵血咒开启，常有孤魂野鬼到处游荡。 凌晨两点半夏雨萌在夜路中捡回一个不会说话的“孩子”，但带回家的孩子很快就失踪了，夏雨萌家里开始连连出现各种诡异恐怖的怪事：家具莫名自动移动，冰箱里的食品无故消失，家里的电器不用接电却能正常工作，房间自动变换方向…… 为了破解家里的怪事，深夜，一个神秘的老婆婆把夏雨萌和其男朋友吴宁带到一个阴森的废旧工厂，没想到这对男女就此深陷于万劫不复的恐怖循环中，他们到底身处阴间还是阳间？捡回的“孩子”是人是鬼？他们不得不联手奋起抵抗……
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.
《美国恐怖故事》新季《Double Feature》，直译为1950、1960年代美国影院常有的“两片连映”活动，这季顾名思义会包含两个故事，一个发生在海中，一个在沙里。演员方面有麦考利·卡尔金、凯雅·基伯等新加入，凯西·贝茨、莱丝莉·格罗斯曼、比莉·洛德、莎拉·保罗森、伊万·彼得斯、阿迪纳·波特、莉莉·拉贝、安吉莉卡·罗斯、芬·维特洛克回归。
故事发生在名为“三宝寺”的古刹之中，住持即将圆寂的消息惹得江湖之中一片风雨，原因在于寺庙之中藏有的珍贵手写经书《大乘起信论》，谁若能接替住持的衣钵，便能获得这无价的珍宝。住持有三个徒弟，传衣钵是大事，于是，住持请来了王将军（田丰 饰）、施主文安（孙越 饰）和悟外法师 （ 吴家骧 饰），除了悟外法师之外的两人均觊觎经书的价值连城，文安甚至带来了女飞贼白狐（徐枫 饰）以备不时之需。 住持有三个徒弟，大师兄（石隽 饰）和二师弟早已经被王将军和文安收买，只有三师弟慧思（秦沛 饰）是一心一意的为寺庙着想。就在这个节骨眼上，一位名叫邱明（佟林 饰）的男子来到寺里剃度为僧，邱明身为流犯却实为含冤受屈，而令他受冤且害他家破人亡的罪魁祸首不在别处，正在这寺庙之中。
四百年前，现代文明崩溃，如今的世界陷入刀剑与魔法交锋争权的混乱局面。 黑暗叛军矢言要让破坏之神安瑟勒萨克斯起死回生。他们在实力惊人的四天王率领下持续开疆拓土，意欲掌控全世界。 位于中央金属大陆的梅塔里卡纳王国惨遭魔法师带领的黑暗叛军攻击。 为了拯救王国，大祭司的女儿提亚·诺特·洋子必须做出一项决定：将封印在儿时好友吕西安·仁忍体内，曾图谋掌控全世界的古代大巫师复活。 而解开封印唯一的办法，就是献上处女之吻。 危险迫在眉睫，洋子吻上吕西安的唇。就在这一刻，空气中顿时出现一股惊人的黑暗力量。 最强大、最疯狂、最艳色逼人的传奇巫师暗黑施奈德就此复活！
故事发生在二十世纪三十年代的民国，山西一个偏远的小山村。村里的保长为了趋炎附势，把自己的女儿嫁给了县长的儿子，并从女儿口中辗转得知了一条旱涝保收的消息：在村里建个“李忆莲祠堂”，就可以获得县里拨发的巨额救济粮和银元。虽然不太明白县里的意思，但是贪财的保长立马勾搭了村里的族长，开始筹谋这桩买卖。
因为被高强度的工作辞退，瑞贝卡准备回家看她的妈妈雪莉，并出席她朋友在圣诞节前夜的小镇婚礼。先开始，她认为这一定是个糟糕的错误，尤其她和前男友，查德，拙劣的对话。但瑞贝卡很快意识到，其实你可以一次又一次的回家，直到你把生活回归到正轨上。
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