2023年09月29日 意甲联赛 蒙扎vs博洛尼亚

阿飞正传

1960年代的香港，因生母在阿飞旭仔（张国荣）长大成人过程中的缺失，他把自己优雅地比喻为“无根鸟”，对生命中遇到的每一个女人都表现得放荡不羁，售票员苏丽珍（张曼玉）和舞女咪咪（刘嘉玲）先后令他感受过温暖，可是她们也只能当当小情人。为摆脱沉重和无力感，旭仔抛下一切去南洋找寻生母。 暗恋过苏丽珍且目睹过她与旭仔情感一路变化的，曾是小巡警今在跑船的超仔（刘德华）在菲律宾又遇到旭仔，是缘分也是宿命，他参与、见证了阿飞命运被改写的过程。

伦敦陷落(普通话版)

班宁（杰拉德·巴特勒 Gerard Butler 饰）是美国特勤局的特工，最近，他接到了一个重要的任务，那就是联手局长琳（安吉拉·贝塞特 Angela Bassett 饰），护送总统本杰明（艾伦·艾克哈特 Aaron Eckhart 饰）前往伦敦圣保罗教堂，参加英国首相的葬礼。 　　英国首相死得蹊跷，班宁和琳知道，他们的行程一定受到了不法分子的密切关注，与此同时，在葬礼上，各国首脑均有出席，伦敦这座繁华靓丽的城市霎时间成为了世界关注的焦点。果不其然，刺客们潜伏在暗处等待着时机，国家领导人屡屡遭到伏击，伦敦地标建筑亦不能幸免于难，整座城市陷入了混乱和瘫痪之中。而对于班宁来说，最要紧的任务，便是护送总统，回到国内。

东京奏鸣曲

佐佐木家的小儿子健二（井之肋海饰）偷偷练习钢琴。爸爸龙平（香川照之饰）是一个普通的上班族。妈妈惠（小泉今日子饰）则是家庭主妇。哥哥贵（小柳友饰）是个忙着打工的大学生。这是一个乍看非常普通的日本家庭，但其实每个人都藏有不希望被别人知道的秘密。直到某天健二回到空无一人的家里，一切开始漫漫浮出水面……                                                                    本片以东京一个四口之家为缩影，深细展现其内部风波，勾画各成员之挣扎

爸爸去哪儿第五季

《爸爸去哪儿第五季》与前四季不同，新一季的节目中将会有5对“父子”亮相，除了4对明星父子组合外，还有1位明星实习奶爸和3位素人萌娃，节目通过这样的组合为观众带来不一样的看点。

你马甲掉了，幽皇陛下

高中生女孩苏离离，因为落水，不幸穿越成为废柴公主，被迫替妹妹嫁给世间最可怕的疯皇——幽皇伊祁渊！为了活下去，苏离离靠着自己的聪明机智与幽皇展开了激烈的斗争！频繁的剧情交锋之下，幽皇也渐渐对这个奇怪的女孩有所改观，而苏离离也发现了自己穿越的秘密……

朝鲜精神科医师刘世丰 第二季

欧洲的某个地方

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.

失衡凶间之恶念之最粤语

電影《失衡凶間之惡念之最》由莊澄及鄧漢強監製，李志毅、李巨源及黃炳耀所執導的三部短篇《要命的溫柔》、《逃殺》及《死亡回憶》，揭開人性最可怕、最醜惡一面。《失衡凶間》最終章，生死無序，一念之距！ 　　要命的溫柔 　　好友小木 (林千渟 飾) 慘遭擄殺，魔術師阿花 (何穎璇 飾) 頻見幻象。兩人最後通話的內容疑有破案線索，為此阿花接受催眠，試圖尋回那段記憶，卻將自己置於危險之中。

莽女追魂

抗日战争中，日军从缅甸入侵云南，我滇西边疆各少数民族利用手中最原始的武器弓弩和长刀，与日军展开了激烈的搏杀。日军基地司令山木大佐接到日军车队陷入火海的报告，恼羞成怒，一面派出以小林勇佐为队长的山林特遣队潜入大林莽，企图挑起民族矛盾，以便集中剿杀；一面亲自出马对景颇山寨进行血腥屠杀。景颇族女头领玛鲁带着残存的景颇族山民逃往独龙寨。独龙大头人正召集各路头领商议抗日大计，便命女儿阿依带领一支人马引开日军，救出景颇姐妹。玛鲁见独龙寨大门紧闭，误以为独龙头人见死不救，带领众人向河边逃去。日军追至河边，残酷屠杀，突然，莽林中箭如琶蝗而至，山木大佐率队仓皇撤退。傈僳武士救了景颇妇女，傈傈头领毒箭木派儿子阿芒和玛鲁一齐去联络独龙人攻打日本兵营。这天，林莽中突然闪出一队日军，打死独龙武士，并欲幔暴阿依，危急时刻，独龙武士腊亮救出阿依。阿芒、玛鲁赶来，阿依责怪阿芒见死不...

爱情史

　　The story of a long-lost book that mysteriously reappears and connects an old man searching for his son with a girl seeking a cure for her mother's loneliness.

我的祖宗啊

据悉该剧接下来将会制作两季，每集预计20集，讲诉了即将毕业的大学生王凌，因自己运气特别差而大骂自己的祖宗缺了德，谁知王凌的祖宗们竟然真的出现了，于是不同身份的祖宗们为了帮助王凌改运而发生了一大波让人哭笑不得的故事。本剧主打爆笑轻松喜剧风格路线，看不同身份的祖宗们穿越到现代帮自己的子孙改运，故事有点香港经典喜剧《开心鬼》现代版的影子，但与之不同的是主人翁的帮手数量可不只一位，这样使得内容更丰富。