芒果TV汽车竞技类综艺《飞驰吧！少年》第二季官宣，将热血启动。继续聚集热爱汽车文化的热血少年，心怀与车的梦想和故事，彼此合作分享，共同激发改创潜力，并最终完成一次充满挑战的竞赛之旅。
《夏日往事》借情欲的符号谱写青涩的少年时代。2000年的安徽小镇上，14岁的两个少年邂逅了一位小镇姑娘。两个少年决定去碟店租碟以邀请在家看电影为名偷放“⽟女心经”······⻘春在炎炎夏⽇的汗水中燃烧流淌，也随着其中一个少年的离别而渐渐消逝
David, a man in his forties, who has sacrificed his life to his wife and kids fights to keep them close to him.
男女分开生活 只在排练试镜成片中见面 那个吻 是演技 还是真心？
ABC正式宣布续订《实习医生格蕾》第十二季。
这部电影将写实与科幻合而为一。一种传染性性疾病STBO正在国内蔓延，它通过没有感情的性活动传播。小偷马克和汉斯欠一个美国女人一笔钱，她限他们两个星期还。他们打算去偷一种专治类似艾滋病的药剂，然后高价转卖。于是他们雇来了亚力克斯，一个正在跟16岁女友丽莎分手的青年。但在计划实施之前，他迷恋上了马克的情妇安娜。丽莎却并没有死心，在他们动手那天她来到了巴黎，使得事情更加复杂化……当然，这是个悲剧。Lovethatburnsfastbutlastsforever.这是导演LeosCarax继《男孩遇见女孩》后的第二部作品，继续他对青春和孤独等题材的关注，也就是在此片的五年之后诞生了影史经典之作——《新桥恋人》。
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.
為了開發性愛應用程式，一位年輕女子和三五好友親自體驗親密關係，並在過程中了解自我。
漫画杂志的编辑町田和子（吉川爱 饰）虽然非常喜欢美丽的东西，但因过于沉迷于工作而将自己外表打扮成次要，与化妆也很完美的时尚店店员相马周（板垣李光人 饰）之间的恋爱故事。
就读于某名门音乐学院的车侑振（周元 饰）出身于文艺世家，他风度翩翩，气质出众，是学院当之无愧的钢琴王子，当然也是女孩们痴迷追求的对象。与之相对，同在该学院学习的薛明日（沈恩京 饰）则如同不为人注意的丑小鸭，她出生于一个极其普通的家庭，不过对钢琴无与伦比的热爱以及天才般的音乐才华让她走上了这条充满荆棘的道路。糟糕的初次印象让车十分反感这个没有任何常识的邋遢女孩，可是明日卓越的才华又让他不得不刮目相看。梦想成为著名指挥家的车，如同发现了未加雕琢的璞玉一般，他精心打造明日，希望她大放光彩。在这一过程中，对音乐赤诚的喜爱与追求让两个有着天壤之别的年轻人越走越近…… 本片根据日本漫画《交响情人梦》改编。