影片讲述了外国男孩里安来到中国学习武术，一次偶然间他无意进入了一个魔幻的世界并发生了一系列奇妙惊险的探险故事。
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.
洗黑钱组织的一号人物李鸿声（林津锋饰）一笔500万的黑钱被骷髅蒙面人抢劫，大为恼火，“先生”要求他务必尽快找到，否则人头不保。与此同时，黑社会头目程剑锋（韩秋池饰）的儿子程成也遭人绑架，双方都去寻求大律师姜东（焦恩俊饰）的帮助。而以给人拉杂货为生的“囧司机”梁昆（胡双泉饰），恍然发现自己车内莫名其妙地多了500万，并且被神秘人跟踪……随着警探王维（连凯饰）的介入调查，一场发生在黑白之间的双雄对决、五路夺宝大战悄然展开……
20岁的Do-won，与母亲住在一起。 但是，他暗中与邻居母亲的恩恩姬做爱。 然后，有一天，她母亲的小辈正道从丈夫那里去世，搬到了邻居家。 在那之后，我母亲的朋友们的交通来去去去， 就连男人也错过了勾引桃园的开端...
阳光爽朗的苏绿夏有着维护漫画空间的使命。平衡本应进入女配体内进行剧情纠正的任务。然而在这一次到达虚幻小世界中却意外进入了女主的体内。在与系统鼠鼠确认后，发现竟是一个非这个空间的女人白婷霸占了女配的身体，参与改变这个时空，妄图强制修改小世界剧情，将女配剧情改变为女主剧情。为了防止女配篡改故事主线，从而带来小世界奔溃的危险结局，苏绿夏开始在一次又一次与白婷的交锋中逐步修正主线剧情，并通过改变部分支线剧情的方式，将那些偏离轨道的剧情拉回。最终迎来原本的女主剧情和美好的结局。
1993年，特技演员烈风（方中信 饰）与女友贺千惠（萱萱 饰）、好友凌克洋（林保怡 饰）前往西安旅游，却意外地在古墓中见到了幼年时的救命恩人步荆红（王菲 饰），他震惊于步荆红20年如一日的容貌并展开了调查。原来步荆红是秦朝时获得长生不老药的舞姬胭脂，孤独千年，只为寻找变 回正常人的秘方，而她不知的是，同样获得了不死之身的秦将军嬴战（单立文 饰）一直都在追寻她的下落。烈风在寻找真相的同时渐渐爱上了步荆红，而荆红却一再压抑，拒绝感情。命运交织，改名为盛世秦的嬴战终于找到了荆红，而他依然不改残暴本性，祸害人间，想尽办法拆散烈风与荆红，并且还想彻底破坏荆红成为普通人的愿望。
《翻过那些山》根据顾文显本人发表于《故事林》的故事《揪心的憾事》改编，是一部反映偏远山村教育问题的影片，影片讲述了90年代初，一个生活在偏僻山村的农民王梦学为了向上不起学的学龄儿童传授知识，克服重重困难私自办学，并为山村教育不惜献身的感人故事。
你是否想过，在霓虹璀璨的都市之下，潜藏着来自古老神话的怪物？你是否想过，在那高悬于世人头顶的月亮之上，伫立着守望人间的神明？你是否想过，在人潮汹涌的现代城市之中，存在代替神明行走人间的超凡之人？人类统...
机长弗兰克（丹尼斯·奎德 Dennis Quaid 饰）与飞机打交道多年，这次他将负责一架“凤凰号”货机，运送一批石油工人和物资到北京去。然而令他意想不到的是，飞机在途中遇到了风暴，弗兰克不得不迫降在荒无人烟的内蒙古戈壁滩上。幸好死伤人员并不多，然而他们的储备水却只够维持一个月的使用，但在一个月内能等到救援的可能性有如买彩票。饥饿和慌张中，幸存者间开始了各种意见分歧与争吵。最后一名自称是飞机设计师的乘客提议，用飞机残骸再造一架飞机自救。然而造飞机并非想象中那么简单，人心在不断尝试中渐渐消耗，仅存的生命之水也越来越少，重伤的“凤凰”还能否在广漠戈壁中涅槃重生？ 本片翻拍自1965年同名电影，两者皆改编自英国小说家Elleston Trevor的同名小说。
