7年之恋

该剧是讲述就读于同一所艺术大学的巨星车律和剧作系学生具娜拉之间横冲直撞的青春爱情喜剧。李洪基饰演巨星车率，郑惠成饰演剧作科学生具娜拉。

129师386旅独立团的团长李云龙（李幼斌 饰）是个敢想敢干，不按规矩办事的愣头青，他脾气火爆，性格直爽，在他的带领下，整个独立团也呈现出敢于拼杀的不要命劲头。在他面前，不可一世的坂田连队、山崎大队、山本部队接连败下阵来，李云龙名声大噪，却也因屡次犯规而遭贬斥。抗日战争时期，他与国军358团团长楚云飞（张光北 饰）惺惺相惜，却又不得不在徐蚌会战时一较高下，最终二人皆负重伤。养病期间，李云龙喜欢上善良可人的护士田雨（童蕾 饰），两个革命战友从此走到一起。在随后几十年的日子里，这对夫妻以及他们的亲人、战友

　　延续第一季的剧情，讲述了立志35岁“提前退休”的辛凡才刚踏出第一步就被现实打败了，花千金也面临店铺经营困扰无暇顾及感情......越来越多有趣的人，加入了这个热闹的小团体，这群年轻人依旧续写着他们的生活，继续上演着关于爱、温暖、奋斗与成长的故事。

年方15岁的高中生秋月孝雄（入野自由 配音），专心学业的过程中不得不为了生计打工赚钱。母亲离家出走，他与哥哥过着看不到前方的生活。入梅之日，孝雄逃课来到日本庭园。在一座安静的小亭子里，27岁的职场女性雪野百香里（花泽香菜 配音）边吃巧克力边饮啤酒的样子引起了孝雄的注意。似曾相识的二人，仿佛约定好了一般，每到落雨之日便从世俗的烦恼中逃脱出来，相会于这座钢筋铁骨都市丛林中宛若世外桃源的幽静角落。在梅雨季节的日子里，他们的心渐渐向彼此靠拢。志愿成为手工鞋匠的秋月，决心以雪野为模特做一双鞋。 雨过天晴，艳阳高照，庭园中久久不见秋月和雪野的身影，相会无期亦有期……©豆瓣

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.

讲述肖邦和女友最后的日子，在一起的8年里，他们各自创作了不朽的作品两人在庄园别墅，在那里，她邀请了当代级受推崇的画家，作家及音乐与一堂。这里是最靠近天的地方，是找寻梦想的所在，尽情发泄情欲及野心欲望……

傅玉书（吴刚 是）是豪门之子，三代单传，身世和地位十分显赫，他出国深造，最终学成归来，还带来了名为白绫（西协美智子 饰）的同学，两人情投意合，准备步入婚姻的殿堂。叶红（曾小燕 饰）是傅玉书曾经的青梅竹马，知道傅玉书的为人和其家世，一直希望能够嫁入豪门做个阔太太，此次得知傅玉书归来，特地精心打扮，想要给对方留下深刻的印象。 nbsp; 　　叶红和母亲一起来到了傅玉书家，看到了白绫，叶红的母亲敏感的察觉到傅玉书和白绫之间的关系十分亲密，再加上傅玉书对叶红的态度明显冷淡，女儿和豪门之子的这门婚事算是泡汤了。叶红的母亲一直希望能够利用傅玉书的财力和名利重振叶家败落的家道，为此不惜借助歪门邪道之力，最终酿成了悲剧。

本片纪录了中国福建省一所普通中学一个高三毕业班的真实生活。高三的生活日复一日，简单而又沉重，痛苦却也快乐。　　善良严厉的班主任，紧张刻苦的尖子生，逃避生活的“差生”，执着爱情的“早恋生”，学生的父母，每个亲历高三的人都有各自的感悟和超越高三的期望。影片的纪录真实、直白，透过高三生活的纪录，让人感到的不仅仅是为理想执着拼搏的浪漫，更有一种如鲠在喉的悲哀。

寻人密探组是非常引人入胜的情节系列剧，该剧讲述的是关于美国联邦调查局失踪人口小组的故事。这个特别小组的唯一任务就是通过应用心理分析技术来抽丝剥茧受害者的生活，并试图发现他们在哪被绑架、被谋杀、自杀或逃跑，来找出他们目前的行踪。 　　该小组重建了“失踪日”时间线，这个时间线非常详细的描述了失踪者失踪前24小时每一分钟的情况，他们遵循一个原则：要找出受害者在哪，必须先了解受害者。 　　高级探长Jack Malone（Anthony LaPaglia饰）是个非常有经验、很严肃、非常重感情的人，他带领着全小组成员奋斗着，因为他们知道有人失踪的时候，每一秒对他们来说都是很重要的。他的小组成员包括Samantha Spade(Poppy Montogomery饰),一个长的很漂亮的金发女郎，但是其实她对自己的工作很能吃苦；Vivian Johnson (Marianne...

暂无简介

暂无简介

卡斯身兼数职，做保姆、餐厅服务员，还贩卖派对毒品，只为勉强维持生计，支付旧金山那间小公寓的房租。卡斯一直暗恋同事卡莉，两人有过一夜情后，卡莉要出城，卡斯答应帮忙照看她 11 岁的女儿阿里。然而日子一天天过去，卡莉杳无音信，卡斯与阿里之间渐渐产生了羁绊，这也让卡斯回想起自己坎坷的童年，以及那些一直试图逃避的伤痛。