纪录片《FPS：第一人称射击》预告片公布。这是一部针对FPS这一游戏类型历史的纪录片，独家采访了诸多这一领域的知名人物，包括idSoftware的约翰·罗梅洛、约翰·卡马克，《网络奇兵》程序员西姆斯·布莱克利，《杀出重围》总监沃伦·斯佩特等等，并探讨了FPS游戏的诞生与未来。纪录片预计今年8月以线上形式公开，并在9月发售实体版本。
暂无简介
西蒙（乔瑟夫·哈德 Josef Hader 饰）是一名私家侦探，人到中年，却发现自己的人生之路越走越窄，内心始终觉得有着隐隐的不安。为了抚平心中的焦虑，西蒙决定回到自己的故乡，在那里，留存着他美好的童年回忆，西蒙忽然发现，自己已经很久很久没有回去看过了。 踏上了故乡的土地的一瞬间，西蒙就感受到了心灵的放松，然而，刚开始的新鲜劲过去后，西蒙开始渐渐回忆起一些发生在这里的，他一直试图淡忘的回忆。阿施布莱纳（托比亚斯·莫雷蒂 Tobias Moretti 饰）是西蒙童年时代的好友，让西蒙没有想到的是，在他拜访自己的第二天，阿施布莱纳竟然自杀了。
千妍秀（朴正雅 Jeong-ah Park 饰）的父亲因为投机倒买土地成为富有的暴发户，而千妍秀更是集合性感美丽的外貌与多金雄厚的家庭背景而成为异性追逐环绕的中心点。然而一向高傲的妍秀阴错阳差的认识了外形俊朗的大学生政道（朴镇宇 Jin-woo Park 饰），生活的轨迹发生转变。为了报复政道不为自己美色所动，妍秀不惜亲自出马诱惑政道，不料虽然计划成功而自己也对政道产生了真挚的爱情。但是政道告诉妍秀，他是乐安邑城古老氏族的嫡长孙，而自己不久后就要回去接受长辈给自己安排的婚礼。而此时，黑道老大罗大镇（李元宗 Won-jong Lee 饰）也因为盯上了千会长的家财而欲取妍秀为妻。然而，这段可能无疾而终的感情峰回路转，因为妍秀发现自己怀孕了，而孩子神秘的父亲成为众人追踪的重点对象！
《特别搜查总部》中，严泰雄将出演硬派热血刑警金诚范，而朱元则饰演在FBI接受训练的新人警探浩龙。影片中经验丰富直觉敏感的金诚范警探擅长凭借其独特的直觉力抓捕嫌犯，而年轻的浩龙则擅耍小聪明但败绩累累，二人将在影片中各展才能联手破获棘手案件。
即將改建的老房舍裡，住著兩兄弟和他們的父親。父親總是嚴厲、難以親近，而弟弟盡責地擔任哥哥的跟屁蟲，他知道無論發生什麼事，哥哥永遠和他站在同一邊。一天又一天，生活如此安靜，彷彿永遠不變，卻在某個夏日午後，時間悄悄帶來屬於成長，幽微而神祕的片刻。
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.
昔时的黄毛丫头,今朝的雲鬓shu女,弃夫,从父 hellip; hellip;Jane Birkin 珍 middot;馬洛里 middot;柏金饰演畸恋亲父的成年女儿Anne 成家有年的安厌弃了婚姻，离开丈夫回到了娘家。父母无恙。而在激情和嫉妒中，安深深地混进了父亲私人情感的浊流。 nbsp; nbsp; nbsp;一个陷入深度抑郁的年轻女子离开了丈夫，回到了父母身边。她发现她的父亲有外遇，她嫉妒父亲的情妇，试图用自己特殊的方式改变父亲 hellip; hellip;
1948年冬，震惊中外的淮海战役打响了。老支前模范耿东山（达奇 饰）从胶东解放区带出一支小车队奔赴淮海前线，有的推着弹药，有的推着给养，一路上红旗招展，浩浩荡荡。小车队指导员耿春梅（吕亚林 饰）是耿东山的养女，她带领民工们冒着枪林弹雨，绕过敌人密集的火力网，直接把弹药送到我军雷鸣（叶志康 饰）连长的阵地，保障了阻击战的进行。送粮途中，支前民工又遭遇地主郑子成（李颉 饰）率领的窜匪，耿东山与之进行了勇敢斗争，并使分散多年的雷鸣、耿春梅兄妹战地重逢。1949年元旦，毛主席在新年贺词中发出“将革命进行到底”的号召，耿东山率支前民工参加渡江战役，直扑南京国民党老巢......
单亲爸爸杨尼克去参加儿子小迪幼儿园的亲子活动，在活动中意外结识了单亲妈妈茜茜，并且产生情愫。两颗孤寂的心，仿佛再一次品尝到了爱情的甜蜜，但由于两人之间有着很大的差距，面临再次组建家庭，彼此都有着重重的顾虑和担心。
3月22日 21-22赛季NBA常规赛 鹈鹕VS黄蜂
每一个学园都流传着一个传说，而关于百年私立名校圣英学园的传说则有些神秘。传说每当学校陷于危难之时，就会有一只英勇的队伍，带着圣光降临在同学们面前，驱逐邪恶势力，保卫校园。大家给这只队伍命名为“霹雳MIT”。而如今，霹雳MIT似乎已经消失，或者说他根本就不存在过。 学校老师陶美人（范玮琪 饰）的另一个身份是末代霹雳MIT的成员之一，为了捍卫她心爱的校园和学生，她决定组建新的霹雳MIT，她把目标锁定在了学园四大天王身上。一个是性格冷淡的名侦探之子詹士德（炎亚纶 饰）、一个是自恋男黄辉宏（小鬼 饰）、一个是富家公子哥钱富豪（陆廷威 饰）、另一个则是詹士德的女友李晓星（鬼鬼 饰）。他们迎来来自恶势力的挑战，一出出颇具悬疑色彩的故事悄然上演，而这背后的真相又是什么……