在進行機甲武鬥大會的冠軍戰時，布萊札德突然來襲，十年前他們也曾侵襲而來，但不知為何他們這次就很乾脆地撤退了。然後這樣過了好幾個月的某日，在創世紀特區的里昂一行人正要接受訓練時，天空突然出現異常現象，竟然出現了鏡像世界的里昂他們，這到底是怎麼一回事呢？
真正的诗选剧开山始祖《阴阳魔界TheTwilightZone》或将再次被重启，这部在外国有着极重要地位的剧集，过去有CBS1959年原版﹑CBS1985年第一次重启版﹑UPN2002年第二次重启版，而CBS今天表示，他们正计划再一次重启这部剧集。这一版本的《阴阳魔界》由MarcoRamirez执笔及当制作人。
阴云密布的本能町，在神秘恐怖的本能字学园，高高在上的学生会长鬼龙院皋月（柚木凉香配音）只手遮天，她通过“极制服”统领校内的学生，极制服由所佩戴的星星数量分级，级别越高拥有的战斗力就越强。这一天，一个背着单片太刀剪的女孩出现在本能字学园门口。她叫缠流子（小清水亚美配音），为了调查杀害父亲的真正凶手而来到这个凶险的所在。谁知她刚刚到来不久，便遭到蟇郡苛（稻田彻配音）、猿投山渦（桧山修之配音）等学生会四天王的阻击。关键时刻，缠流子意外得到父亲制作的黑色神衣，由此战斗力大增。连番激烈的战斗在本能字学园展开……
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.
生长在大城市贫困区的阿强，因为一场交通意外，不仅失去了妹妹的生命，更衍生出来自贫苦环境的压力而造就的社会问题。（via 第二十届上海电影节市民观影手册）
1993年，仁川，高利贷追讨者头石（成东日 饰）和宗培（金熙元 饰）想从明子（金允珍 饰）处拿回欠款，却因为明子的窘迫只得将她的女儿承利（朴昭怡 饰）带走作为担保。 因为被人举报，作为非法滞留者的明子遭到驱逐，临行前拜托头石将承利送至其大伯处。本以为承利会被有钱人家收养的头石却发现承利被送到了不该她待的地方，他毅然决定把承利夺回… 此去经年，正在中国作为中韩外交事务翻译的承利接到宗培的电话，得知了失踪已久的头石的讯息…
いまだ人と、人ならざるものの世界が、分かたれてはいなかった古の物語。 三千年の時を経て復活した、魔神族の精鋭〈十戒〉との戦いに〈七つの大罪〉は敗れ、メリオダスは死んだ。 そして、ブリタニアには暗黒の時代が訪れる。 ディアンヌ、キング、ゴウセルも行方不明の中、リオネス王国に迫る〈十戒〉の魔の手。 エスカノールがエスタロッサを退けるも劣勢は続く。 そして、エリザベスが窮地に陥ったその時、圧倒的な力を取り戻したメリオダスが煉獄より復活を果たす。 〈十戒〉のグレイロードとフラウドリンは討たれ、リオネス王国は守られた。 復旧する建物。しかし、人々の恐怖に傷ついた心は癒えない。 そして、力を取り戻した事でメリオダスは、最凶の魔神と呼ばれた時代に逆行しつつあった。 キャメロットを根城にする〈十戒〉の脅威は続く。 ブリタニアを魔神族から解放する為、〈七つの大罪〉は再...
本剧讲述了一个普通秀才君无咎成为推官后在集体团队帮助下充分发挥特长解开诸多迷案的故事。擅长推理的主人公君无咎和武功高强的苏文月以及足智多谋的成杨组成破案小队，三人性格迥异，但维护正义的信念一致。共事过程中，求同存异。在侦破曲折离奇、匪夷所思的迷案时，将一系列错综复杂的线索，抽丝剥茧，条分缕析，充分了解人物关系后，理性剖析人性，科学辩证地思考和推理，挖掘出案件背后的真相，将一个又一个情理之中又意料之外的迷案侦破。