座头市喧哗旅

《污渍》三浦梓（广濑爱丽丝）是干洗店的独生女儿。某天店里来了个一身黑打扮的神秘女人（关惠美），希望小梓能帮忙去除衣服上的巧克力痕迹。本以为巧克力分分钟就能洗干净。可谁知非但没洗掉，那块污渍还渐渐变成了人脸的形状……《无法火化的父亲》工作麻利的精英女医生松田春香（杏）的父亲过世，所以全家人来到了火葬场。火化即将结束，可是父亲的遗体却烧不掉。遗体之外的东西全部烧光了。唯独遗体一点都烧不起来。火葬场员工鬼瓦（皆川猿时）指出，会不会是心里还有遗憾。于是春香一家人开始协力寻找原因。最终遗体能否顺利火化《三个愿望》和绝世美妻一起住豪宅的男人若林和也（伊藤英明），某天，他正和最爱的妻子在庭院用餐，一眨眼的工夫，妻子（沢井美优）就不见了，他当场报了警，警察才刚展开搜索就接到了电话，妻子遭遇绑架，绑匪要求五亿赎金。可是警察给若林录口供时，却发现他的言行举止实在可疑，明明对妻子很执着，却对妻子毫不了解。这起绑架案中到底隐藏了些什么……？《主播》在电视台某综艺中当AD的青年赤城良太（白洲迅），每天都被不停使唤的他有时为了泄愤，会利用自己的AD身份，用无聊的段子搞网络直播，然而粉丝量没涨，让人头疼的评论倒是疯涨。他点开了其中一条评论中的链接。看到的是电视台的地下停车场，他带着一头雾水接着看，看到了某个搞网络直播的人拿着菜刀袭击了站立不动的保安员，一阵恐惧突然向赤城袭来……（来源：日菁）

位于爱媛县四国的中央市，曾是一个古朴纯然的小镇，随着大工业化的推进与扩张，这个小镇也不可避免受到冲击，传统的手工业以及艺术也随之走向式微。在当地的一所高中内，人丁稀少的书道社惨淡经营。社长早川里子（成海璃子 饰）看着成员一个个离去，虽心有落寞，却也无可奈何。当然里子的心中也有着无限的感慨，她自幼随身为书法家的父亲学习书道，可究竟对这门艺术没有太多的热忱。成员退出，新任指导老师的到来，以及伙伴们各异的想法，都令她倍感烦躁。 　　与此同时，中央市商业街的老店铺相继关张，连本地著名的和纸业面临无以为继的局面。书道社的朋友们团结一心，决定举行书道表演甲子园，以此来弘扬失却了许久的传统工艺与艺术……

　　在一觉醒来之后，六个人发现自己被关在一座废弃工厂内。而这六人逐渐发现自己是被绑架在这里，并参加到了一个名为“恐怖游戏"的真人电视节目当中。节目丰厚奖金的诱惑和即将面临的未知危险令他们进退两难，而当他们想要找出路逃离现场时，却发现那是一个封闭的空间，全无出路，而此时他们正逐步掉入一个恐怖阴谋的全套当中……                                                                    　　                                                                    　　当真人秀节目变成了一个屠杀陷阱，那么等待参与者的只剩下死亡了。

没有什么工作比消防员更紧张、更危险、更令人兴奋了－－对芝加哥51号消防站应急救援队的成员来说尤其如此。美国人把他们看做英雄。每当遇到紧急情况的时候，别人都急着往外冲，但这群勇敢无惧的男女却义无反顾地冲进最危险的地方。他们每天都要和死神打交道，每天都要在最紧张的时候做出最重要选择，每天都要面对自尊与自负的考验，工作的责任和压力给他们的性格带来了巨大影响，队员们之间发生矛盾似乎是不可避免的。 一场悲剧夺走了一名队友的生命，所有人都陷入深深的愧疚和自责。副队长Matthew Casey（Jesse Spen

在一个由女人主宰的世界里苏醒后，一名无耻的大男子主义者因与一名有权势的女作家发生争执而自食苦果。

　　初三女生曾芮出生在一个教育世家，爷爷奶奶父亲母亲都是教师。在即将升入高中填写志愿时，她没有遵从家人的意愿，而是填报了职业高中，因为她的理想是做一名美发师。这个决定在家里引起轩然大波。长辈们逼着她好好复习，参加中考。身为中学校长的父亲曾明达还拿学校的尖子生胡佳佳做样板教育女儿。曾芮没有妥协，辞退了父母给她找的几位补课老师，和女同学陶丽丽一起私访美发师，学习美发技艺。与此同时，母亲何宁也在积极做着工作，为阻止女儿的行动做着努力。然而适得其反，曾芮竟然以死相逼，家里陷入混乱。 　　中考之前最紧张的时候，曾芮和陶丽丽跑到乡下去散心。奶奶吕敬雯追到乡下，看到孩子们在大自然中的表现，深受触动，她意识到“让孩子身心健康远比分数更重要”。祖孙俩在乡下进行长谈，消除了隔阂。回到家却看到何宁强行搬走了曾芮的东西。何宁认为曾芮不听话，是因为从小跟着奶奶，隔代教育的后果。接回家里，她可以严看死守。曾芮经过与奶奶的沟通，也尝试着与妈妈相处，来理解大人。她顺从的回到父母家，开始了一段极不协调的生活。吕敬雯则独自去考察职业高中…… 　　中考结束，曾芮的成绩进不了重点高中，何宁表示就是花钱也要达到目的。曾芮说妈妈说话不算数，愤然回到奶奶家，坚决不再回去。这时，因考试不理想，一向学习拔尖的女生胡佳佳自杀了。曾明达处理这一事件时，猛然醒悟：尊重孩子的选择比强制更重要。毕竟孩子的心灵的脆弱的。他开始说服妻子。四个大人面对曾芮的选择，都在重新思考如何教育下一代这一严峻的课题。面对何宁的固执，吕敬雯出面，带何宁去了职高参观。　 　　开学了，曾芮如愿以偿，曾明达送女儿上新学校。何宁尽管思想没通，还是归还了强行没收的芭比娃娃。吕敬雯想到的是曾芮如果坚持不了的时候，家长应该怎么做……

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.

1月30日，《2023湖南卫视芒果TV元宵喜乐会》官宣定档，晚会将于2月5日19:30在湖南卫视、芒果TV同步直播。

19 世纪末，16 岁男孩杰（柯蒂·斯密特-麦菲 Kodi Smit-McPhee 饰）来到美国，企图横跨北美寻找自己的心爱的姑娘，一名神秘的旅人塞勒斯（迈克尔·法斯宾德 Michael Fassbender 饰）加入杰的行列，两人一同向西行进，不料在美国西部荒原，被人 盯上，一场激烈的枪战也在等待着他们……

故事从少女辻泽梁香（广濑铃 饰）与老婆婆林田亚乃音（田中裕子 饰）相遇开始，梁香失去家人，与社会脱节，找不到生存下去的方法，两颗遭遇背叛、欺骗，无法相信他人的心碰到一起，萌生出了某种感情，亚乃音努力保护梁香，假的家庭，假的人生，假的记忆，还有真实发生的事件，让少女逐渐发生改变……

暂无简介

暂无简介

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。

雅各布（安德雷昂·祖利维 Adrien Jolivet 饰）和弟弟弗拉基米尔（格雷戈瓦·勒普兰斯-林盖 Grégoire Leprince-Ringuet 饰）过着相依为命的生活，命运对善良的两人并不公平，尽管经历了许多不堪回首的往事，尽管除了一匹高大的骏马外两人一无所有，但兄弟两还是为了能够活下去而做着不懈的奋斗。 　　不幸的是，上帝夺走了雅各布最后的希望——一个名叫罗曼（格莱戈尔·科林 Gregoire Colin 饰）的男人偷走了他们仅有的马并且杀死了弗拉基米尔。巧合的是，罗曼与雅各布的境遇十分相似，年长的他亦有一个身患残疾的弟弟艾利亚斯（François-René Dupont 饰）需要照顾。同样是被命运抛弃的人们，为了生存和尊严，雅各布和罗曼被迫拔刀相向，他们都知道，只有当一方夺取另一方的生命之时，仇恨才会终结。