STORY（翻译：jinforever）　　女主人公奏怀揣着满心期待与些许的不安进入了这所学园。　　然而才刚入学她就闹出了大问题，由此而缺勤了将近一年。　　同时她开始在家中闭关不出，不知从何时起，她甚至开始惧怕与人见面，不敢迈出家门一步。　　每天，她都在房里提醒自己，这样下去不是办法。但她也无力改变这样的现状。　　成天无所事事，任时光从指缝中悄然流逝。　　主人公渐渐开始对自己空虚的生活感到恐惧。　　心中的不安与日俱增，更是阻挡住了她走向外部世界的脚步。　　于是就在某一个夜晚，主人公做了一个梦。　　「试着向外面迈出一小步吧」　　「下定决心，把刘海剪短…摆脱过去，创造一个全新的自己」　　「来…――――到外面」　　那不可思议的声音说完这些，便戛然而止。　　主人公在迷迷糊糊间再次坠入梦乡。　　怎么可能……到外面去呢……　　但翌日清醒之后，她却一直无法忘却这个奇妙的梦。　　第二天。　　她努力抬起自己那沉重而又抗拒外出的双腿。　　慢慢打开那紧闭多时的卷帘窗。　　接着，将微颤的手伸向大门。　　似乎是被梦境所推动般——主人公奔向了外面的世界。

　　继《大丈夫》后本年度再次揭露男性本性的至型潮爆开心喜剧。 名、利、财、色往往是男性最为执着，自古人们亦常用「好名」、「好色」等字眼形容男性，而事实上这世间的确存在着一些一生争命逐利、好色贪权的男人，然而他们又怎会明白到，他们心目中那些权力、名利、爱欲，原来都可能只是一个笑话……故事围绕着一家酒店大堂的酒吧，趣事就发生在这酒吧内的三位男主角身上，他们三人虽然互不相识，却交织出三段令人啼笑皆非的爆笑故事。

　　肖风（陶虹饰）与妹妹肖可（高园园饰）小时候父母被残忍杀害，相依为命地长大。肖风嫁给了保险评估员何伟（徐峥饰）——一个干净斯文认真努力的好男人，一家人平静地生活着。只有患了脑瘤的肖可被病魔折磨得对感觉不到人生任何乐趣，但是自从她认识了颓废的男人并发现了当年父母血案的新线索，她的人生目标就成为找出杀害父母的真凶。何伟成为了最大的嫌疑人。她把何伟绑起来，一字一句粉碎了何伟的谎言，而何伟爆发中强奸了肖可。这是一个起手无悔的棋局，所有人都是悲剧的棋子。

　　一场同学聚会引出一段青春往事，一个即将步入而立之年的八零后男人的内心独白…… 我们可以粉饰记忆，但是不能逃避成长……

　　节目聚集了18位来自全国一线年轻主厨同场竞技，他们代表了当代中国餐饮届新生力量。同时汇聚业界顶级评委阵容探讨餐饮话题，见证新时代主厨形象的诞生。　　节目旨在综艺美食赛道内，以主厨这一身份概念，选拔全能六边形战士，讲述不同于传统美食内容的崭新故事。表现当代主厨基于传统技艺的创新力，顺应市场发展的创作能力，以及餐饮艺术层面的新表达。

　　《暗中》由Corinne Kingsbury执笔，讲述一个充满缺点﹑无礼的盲女是她那贩毒朋友被杀时的唯一「目击者」，而警方不理会她的证供后，她决定与导盲犬Pretzel去试图找出真凶。期间女主仍然得应付自己的感情生活，以及那份由保护欲过盛父母提供的导盲犬学校工作。

　　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.

If You Want, A Sex Party That Gives You