武士助手逢坂君！

ヨコヤマノブオのマンガを実写化した本作は、武士であり春画師として熱狂的な人気を誇る逢坂総司郎が、江戸時代から令和へとタイムスリップするコメディ。現代の「まん画」に魅了された逢坂がマンガ家のアシスタントとして働き、時代を超えてエロと恋に向き合うさまを描く。

6秒钟的轨迹～烟花师望月星太郎的忧郁

该剧讲述烟花师望月星太郎（高桥一生饰）与本应去世却又出现的父亲望月航（桥爪功饰）的奇幻日常。

王牌大保镖

　　阴差阳错立奇功的姚二嘎（程野 饰）光荣成为“保安一哥”，深受富豪张世豪（孙越 饰）赏识，被安排去护送总裁千金丽萨和巨额合同款。不料途中横遭车祸，丽萨遭神秘面具人绑架，巨款不翼而飞，二嘎却成了被悬赏通缉的最大嫌疑人。为洗刷冤屈，二嘎在刘半仙（杨树林 饰）的帮助下，与麻辣女保镖谭家洛（潘春春 饰）联手智斗鱼霸手撕绑匪，找回巨款之路意外连连笑料百出。

双刃斧

大門剛明の小説を映像化した本作は、ある未解決事件をめぐって現役刑事と元刑事がぶつかり合うサスペンス。15年前、捜査一課の刑事・柴崎佐千夫の娘が刺殺体で見つかる。柴崎とともに後輩刑事の川澄成克が真相を追うも、事件は迷宮入りに。そして15年後、未解決事件の再捜査を専門とする“専従捜査班”が立ち上がり、川澄も再捜査に加わる中で、犯人と目される男の存在が浮かび上がる。一方、刑事を引退していた柴崎も独自に事件を追うが、1本の電話をきっかけに、彼自身に嫌疑が掛けられる。

无人行走

Olivia Thirlby is the eye at the centre of a very sexy storm in this warm, hysterically funny dramedy. When her young filmmaker breezes into town, she comes riding a wave of effortless sexiness, which carries her through a net of passions-gone-wild as men queue up to fall at her feet. Though the film could’ve done with more depth, it wisely plays down the angst and is content to sit back as sparks fly between its central players – including Rosemarie DeWitt and John Krasinski.

芙蓉镇

本片分上下两集，讲述了位于湘、粤、桂三省交界处的芙蓉镇上，人称“芙蓉姐”的漂亮女人胡玉音（刘晓庆）在“四清运动”及“文化大革命”中的遭遇。 　　1963年，凭着热情周到的服务，胡玉音与丈夫桂桂（刘利年）经营的米豆腐摊子前渐渐成为早市上最热闹的一道风景，加上夫妻俩省吃俭用，手中积攒了一 笔数目可观的财富。镇党支书也是胡玉音干哥的黎满庚（张光北）、粮站主任谷燕山（郑在石）及乡邻们都为他们高兴。当他们盖好新房准备日子更上一层楼时，迎上“四清运动”，一直嫉妒胡玉音的原国营饮食店经理、今县商业局科长李国香（徐松子）与二流子王秋赦（祝士彬）联手，趁机将她定性为“反革命五类分子”中的“富农婆”，将之派去与原县文化馆馆长、今被人称作“秦癫子”的“右派”秦书田（姜文）一起清扫大街，桂桂身亡。运动中黎满庚昧着良心将胡玉音背叛，谷燕山则一直以老革命军人的标准诚实做人。 　　1966年，“文化大革命”开始，世道的荒谬从不停调换角色的李国香与王秋赦两人身上便可窥见。一起扫街时，胡玉音将自己的悲惨遭遇归罪于秦书田，后者曾在她与桂桂成亲之时唱了后被认为反革命的贺喜歌、在她新房子建成之时写了后被认为反革命的贺喜联。对于胡玉音的怨恨，秦书田并不多做辩解，相反时常暗中将她帮助。慢慢地，两人生出感情，计划着成为一家人好好生活，但前路充满血风腥雨。而在他们最艰难时，谷燕山从没忘伸手一帮。

浪子降魔

身负神力的少年周处（何与饰）顽劣叛逆，总是好心办坏事，被吴郡百姓视为异类。某夜，周处为救城外孩童，杀死白额虎妖，不料却引得虎王（陈国坤饰）降祸吴郡。在与虎王一战中，周处身受重伤。而后虎王施展妖法，吴郡生灵涂炭。失去超能力的周处，变为一个普通人，受到了百姓的恩惠和照顾，也意识到了自己之前的错误，明白了英雄的精神和责任所在。周处浪子回头，身披父亲留下的天星铠甲，与虎王展开了终极一战。

鬼拳3

百年前，魔尊纵横于世，无人能挡。后来鲛人一族为了封印住魔尊，不让他祸害人间。族内的大长老以全族之力造了几个阵法:鬼火七星阵（鬼一）、罗生不死阵（鬼二）、侍魂阵（鬼三）、东海永生阵（鬼四）、及往生修罗阵（鬼五），并牺牲自己化为阵法的守护神，封印住了魔尊，让魔尊永远地沉睡在幽灵岛上。鲛人一族怕后来者唤醒魔尊，在阵法的入口建了一个岛屿。世世代代守护着。千年之后，阵法的力量逐渐减落，阵法陷入破裂状态，世界开始妖魔四起，魔尊被封印时逃逸出的几道残魂不断的入侵寄主，利用其帮自己破除阵法，重出人间。

草根衙门之真假县令

在主要以一名文绉绉的秀才和武夫花罗汉二人阴差阳错的被县令周正任命为捕快，两人根本没做过捕快，赶鸭子上架的歪倒正着。二人用自己的才学与勇气破获了许多奇案的故事。

3月6日 22-23赛季西甲第24轮赛事精华

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.

売春婦マリア

A story about a female reporter investigating sex workers in Shinjuku.