美丽中国

《都市情缘》于江西电视台都市频道每晚7:30至8:00播出，是一档为普通百姓提供情感帮助的情感故事类栏目。节目搜寻普通人的情感经历，记录生活中的悲欢离合、爱恨情仇、真实的情感故事、感人至深的情动时刻，给观众带来丰富的情感体验和心灵共鸣，《都市情缘》栏目已经成为现代人的心灵栖息地。

故事发生在中华人民共和国建国之初，虽然人民解放战争取得了决定性的胜利，但是在祖国的边陲之地仍有不少残渣余孽蛰伏潜藏，图谋不轨，随时妄图推翻新政权。解放军的军旗迎风招展，国民党的败部丢盔弃甲，从云南地区撤出。为了荡涤当地的残余势力，解放军某部指导员江洪（王心刚 饰）带领工作组深入傣族人聚集的勐垅沙地区。但是女特务刀爱玲（曹樱 饰）蛊惑当地头人布亢（刘怀德 饰），令民众对工作组产生误解和敌意。工作组不急不躁，一点点取得了民众的信任和支持，与此同时还与反动势力做着不懈的斗争…… 本片根据话剧《遥远的勐垅沙》改编。©豆瓣

SNL著名搭档，曾获得三项金球奖八个艾美奖的蒂娜·菲（TinaFey）与金球喜剧视后艾米·波勒（AmyPoehler）联合主演。SNL著名喜剧演员玛雅·鲁道夫（MayaRudolph）也担任重要角色。影片讲述因为父母卖掉了老房子，两姐妹被召回清理自己儿时的卧室，过程中她们也拾回了许多自己童年遗失的美好回忆，中途发生了许多搞笑尴尬的故事。

黄泉八百里沙海，寂寞荒凉，无花无叶。少女三七作为这黄泉中的最后一任孟婆，被冥王阿茶指婚给鬼差赵吏。三七性格憨傻，样貌枯槁，情窦未开，遭到了赵吏的拒绝。她日日独守在空旷的土堡内，熬着苦涩的孟婆汤，只与一株将死未死的曼珠沙华相伴。直到那一日，一个名叫长生的少年，误打误撞闯进了孟婆庄……

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.

遵循四个相互关联的芝加哥夫妇在探索自我的快感和性探索的界限。

坐落于某繁华都市闹市区的大厦，担任保安的小包（林家栋 饰）和罗坤（方力申 饰）百无聊赖盯着监控视频，偷窥红男绿女的各种勾当。白总（谢君豪 饰）的车控失灵，小包和罗坤赶来帮忙，事后小包将某车位前的木牌子扔进了垃圾桶里。谁知不久，他便从罗坤口中听到了一个可怕的都市传说。据说当初围绕该车位，曾有两组人马死于残酷的事故，在此之后该车位以及那个写着“尸家车位”的木牌子就成了令人恐怖忌惮的存在。不久之后，小包死于恐怖事件，而罗坤和在该大厦某公司上班的丽莎（尹素怡 饰）则从此深陷神秘灵异的梦魇之中，难以逃离……©豆瓣

(简介翻译：三木@日菁字幕组 转载请注明出处) 　　平凡老实的中年上班族左江内，有一天被一个奇怪的男人逼着成为了正义的伙伴·超人（虽然他自己并不想做）。作为有着一位强势妻子和一双尚在青春期的儿女的父亲，他在世界和平和家庭纠纷之间左右为难。虽然成为了超人，但生活并没有变好。正义，和平，幸福究竟是怎样的呢……。被现实的种种无奈所困扰的大叔超人，今天也要加油！

来自月球的外来生物自带异能，他们经历漫长的进化及繁衍，不断适应地球环境，悄然融入人类社会，被称之为：月族。 　　表演系学生佟小曼仅剩3个月寿命，却误打误撞与欧泽野缠绵一夜。欧泽野的到来打破了佟小曼平静的生活。在啼笑皆非的同居生活中，佟小曼对欧泽野心生好感，却发现他并非人类，而是月族。 　　月族平时与常人无异，可每到月圆之夜便要经受“诅咒变为恐怖的嗜血狂魔。欧泽野险些伤害佟小曼，引发了巨大的感情矛盾。 　　但最终，佟小曼与欧泽野仍然坚信真爱至上。二人不顾一切，冲破世俗禁锢，扫平障碍，终究逆天改命，化作了世间一对平凡爱侣。

该剧讲述一次外星人的攻击让地球上的人类几乎消灭殆尽，只有少数人类还在为生存而战。艾米丽(埃德加-琼斯饰)发现她能与外星人产生奇怪的个人联系。在第二季中，入侵者是人类的可能性弄得所有人晕头转向，等待他们的是一场夺回地球的紧张战斗。霍华德·欧尔曼(《梅林传奇》)操刀剧本。该 剧将于6月6日登陆EPIX。 　　Set-in present-day Europe, War of the Worlds is a multi-faceted series, based on the story by H.G. Wells.   When astronomers detect a transmission from another galaxy, it is definitive proof of intelligent extra-terrestrial life....

1978年，到2009年，这是中国发生巨变的激荡三十年。通过幺婶的一家，写的却并不只是她们一家的人生，而是中国人在这三十年中，走过的这一条坚韧顽强，风雨壮阔，回肠荡气的奋斗之路。

节目是一档城市美食探索综艺，本季专注“烧烤”主题，由苏醒、杜海涛两位“饭搭子”作为本季主MC，前往深圳、武汉、淄博等六座城市，与好友共同打野当地特色烧烤、分享美食故事，体验城市真实烟火气，也寻找美食之间的情感共鸣。

暂无简介