神武天尊

我自虚空而来，举手诸天崩碎，覆手黄泉寂灭；我为魔、为神、为仙、为人。我是萧晨，也是万物，亦为主宰！

网络少年

暂无简介

疑云背后(国语)

　　罗伯特（迈克尔·杜迪考夫 饰）是一家跨国企业GENCOM的电气工程师。他的生活一直正常，直到他开始经历了可怕的充满混乱和暴力的真实幻觉。一天晚上，他被攻击了，他设法逃出家躲藏在树林里。从他躲藏的地方，他目击了他的妻子和攻击他的那个男人谈话并且和他们离开。他进入到被洗劫了的房子时，发现了一张GENCOM公司的磁盘。当他潜入公司的电脑主机运行这张磁盘时，他稍微改变了一下出现在屏幕上的图像。此..

警戒线

上海名牌大学的MBA毕业生江晓阳为了远大前程，也为了心爱女友李静微的十年之恋。离开了故乡上海来到南方沿海城市通海市知名的金鹏企业集团工作。在他勤奋刻苦的工作过程中他发现了这家公司的走私黑幕。身为公司董事长的香港女强人程梦丽碰巧又是江晓阳的中学同学，在江晓阳出现以后，缺乏真情滋润的她因迷恋江晓阳而逐渐身不由己地失去了对走私事业地控制；通海市公安局身经百战的孤胆英雄北勇在一系列刑事案中逐渐揭开了通海市的走私黑网；最后在江晓阳、北勇这对文武兼备的英雄巧妙配合下，在中央工作组的支持下，通海市的官商勾结的特大走私集团被彻底消灭了。江晓阳也在这场血与火的洗礼中找到了真正的爱的意义。该剧以平凡的视角，层层剥笋似地揭开了一个扑朔迷离、跌宕起伏的惊险言情故事，活的惊心动魄，爱的波澜壮阔，生的壮美瑰丽，死的义薄云天，是一个批判现实主义的主旋律娱乐新片。

漂流北极圈

《漂流北极圈：冰上一年》记录了人类历史上最大规模的极地探险任务——北极气候研究多学科漂流观测计划（MOSAiC）。这是一项迫在眉睫的科研探索，全球科学界筹备10年，数百名科学家搭乘破冰船进入北极圈，进行超过一年的实地考察，直面我们这个时代最大的挑战——气候变化，揭开北极加速融化的秘密，以及它对地球各地的深远影响。

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.

中国大学生五人制足球联赛（女子组总决赛） 上海立信会计金融学院vs成都大学 20231205

英超 埃弗顿vs布莱顿 (苗锟) 20231104

东柱

影片讲述日本帝国主义占领时期，姓名、母语、梦想统统不被允许的黑暗年代，朝鲜爱国诗人尹东柱(姜河那饰)在同为独立运动家的好友宋梦奎(朴正民饰)的影响下，通过诗歌鼓舞青年一代的故事。

东京偶像

以女子团体及流行音乐为主要载体的“偶像文化”现下正渗透着日本社会的方方面面。《东京偶像》以纪录片的形式，深入这一文化现象的核心，探讨偶像文化潮流对于社会的冲击。 影片通过一位真正的“东京偶像”来展现她的成名之路。她的“哥哥们”是一群在网络上与现实生活中以追随少女偶像为毕生事业的中年男性。他们放弃了自己的工作，曾被认为是社会的边缘人物，但他们全身心地投入偶像文化，伴随着偶像文化的膨胀发展，如今已成为网络世界的主流。本片导演三宅响子透过少女偶像带有挑逗意味的装扮，来揭示性别力量在日本流行音乐工业制度中的角色。

我是布莱克

59岁的丹尼尔·布莱克是个木匠，由于心脏问题，他生平第一次需要申请社会救济。尽管他的医生禁止他继续工作，但他依然决定冒着被罚款的风险找一份工作。在他反复前往“就业中心”求职的过程中，他结识了凯蒂，一位需要照顾两个孩子的单身母亲。为了不让孩子流落到儿童福利院，她不得不住在一间离自己出生地450公里远的住房内。当今英国行政机构的繁琐程序就像一张网，牢牢套住两人。丹尼尔和凯蒂决定尝试相互帮助……

直到天空迎来太阳

Wanfahmai Vararith（女主角）因为失去了父母住进了Arthit（男主角）家，她知道自己可能会被赶出去，所以脱了衣服勾引Arthit，想要留下来。 　　没想到Arthit愤而奔出门遇到了车祸，差点失去生命，就算痊愈了，也依然充满恨意。 　　Wanfahmai Vararith因此被送出国留学四年，回国是因为对Arthit父亲的承诺，不得不回来再次面对Arthit，虽然她后悔了，但Arthit仍旧没有原谅她。 　　谁说“时间会治愈一切”， 　　都是骗人的， 　　四年过去了，他仍旧对她充满恨意，甚至更甚 　　所以，就这样吧， 　　她必须完成对他父亲的承诺， 　　所以她会表现得像个隐形人。 　　一点也不让他生气。