美国恐怖故事集第三季

内详

无人之境

两个在现实生活中亲如兄弟，曾并肩穿越中国五大荒原的男人再次上路。这次是为了寻找藏北荒原中那些传说中的宝藏——金丝野牦牛和普兰古战场遗址。他们有着相似的旅行经历但又迥然不同的生活背景，两极的个性差异，使他们此次的旅行虽然有着相同的目标，但又有各自不同的旅行心态和探险方式。在整个探险过程中，两人之间既有兄弟般的情谊，相互扶持和帮助，共渡难关。也有激烈争论和互不妥协。无论和谐还是冲突，都体现了在极端条件下的真实人性，所有这些被展现的人性，可能是美好的、积极的、也可能是阴暗的丑陋的，但毫无疑问，所有这些都是真实而又无法复制的。

狂蟒之灾4

一队摄制人员为寻访神秘的希里莎纳部落，正向神秘的亚马逊原始森林迈进。途中他们遇见已在森林里生活多年的“捕蟒专家”，他一直在追捕一条长达40英尺、凶猛而且狡猾的巨蟒。为了借助摄制组的力量，他以带路为借口，把摄制组带进这条巨蟒的领域。就这样，摄制组在毫无准备之下陷入了极度的危险之中……..

神魔觉醒

在夜店兼职的大学生王帅突然被美女周雪搭讪，对方希望王帅能在一周时间内完成一项报酬为100万元现金的任务，而任务内容竟然是和五个不同的女孩接吻。在损友杨啸天的怂恿下，将信将疑的王帅接受了这份奇葩的任务。然而王帅万万没有想到的是，他因此卷入了两个有着几千年历史的异能者组织——神力卫和魔游侠的争斗之中。随着任务的进行，王帅的身份也变得越来越扑朔迷离，他似乎成了决定双方成败，被称为“觉醒者”的关键人物。然而事情似乎并没有那么简单，王帅其实有着另一个不为人知的身份，当他真正觉醒时，也许就是世界末日……

比老虎可怕的冬季客人

电影讲述被同居女友抛弃后做代驾的男人遇到前女友，展开新的旅程的故事。李阵郁将出演男主，高贤廷已确定出演女主，即李阵郁的前女友一角。

超技舞台

多媒体企划《テクノロイド》始动PV链接：https://www.bilibili.com/video/BV1V34y1Z7Xm上松範康、RUCCA、ElementsGarden担当原案的多媒体企划《テクノロイド》始动，动画制作由动画工房负责，游戏开发由WonderPlanet负责，目标是2022年的游戏发行和动画播出。浦和希、渋谷慧、峯田大夢、kayto、古川慎、萩谷慧悟、梶原岳人、榎木淳弥、大塚剛央、杉林晟人、仲村宗悟将参演该企划。

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.

失乐园

久木祥一郎（役所广司饰）是一家出版社的高级编辑，妻子久木文枝（星野知子饰）做设计陶制品，已成年的女儿在医院工作，很少回家。祥一朗感到家庭生活乏味，夫妻间总是客客气气。

阿鲁斯的巨兽

DMM×旭 Production 合作、大枪苇人担任角色原案的原创动画《アルスの巨獣》（暂译：阿鲁斯的巨兽）宣布 2023 年 1 月开播

小娇妻

由于新婚妻子洋洋（周迅 饰）对丈夫点子大王方大中（曹力 饰）的一次恶作剧，致使丈夫开车撞人被判刑入狱，洋洋的生活因此陷入窘境。自小娇生惯养的她不得不独闯世界赚钱养活自己，她在宾馆打工出尽了洋相，把口红融进了汤盆里，刚上工就被老板解雇。不料弄拙成巧，喝过此汤的诸君竟称此汤有“女性温情”。老板后悔不迭，差人四处寻找洋洋。此时的她另谋一份卖盒饭的生意，来到不许设摊的城市广场，城管的出现吓得洋洋落荒而逃。在陪好友小波（刘春晓 饰）相亲中，混血儿胡保罗阴差阳错看中洋洋，免不了又发生一连串令人啼笑皆非的误会。刑满释放的丈夫方大中回家后，昔日的客户纷纷涌入方家，求助这位曾经的点子大王......

猩红山峰

　　伊迪斯（米娅·华希科沃斯卡 Mia Wasikowska 饰）是一名业余恐怖小说作家，某日，她邂逅了英俊的英国发明家托马斯（汤姆·希德勒斯顿 Tom Hiddleston 饰），后者的彬彬有礼温文尔雅很快就吸引了伊迪斯的注意，两人发展迅速。然而，伊迪斯的父亲卡特（吉姆·比弗 Jim Beaver 饰）却对托马斯充满了敌意，坚决反对女儿同他来往。 　　就在这个节骨眼上

公路游戏

夏日的法国乡间，Jack和Veronique一同结伴旅行。他们搭上了一辆便车，但随后发生的事让他们发现自己被卷入了一场事关生死的猫鼠游戏之中。一对神秘夫妻，一个公路杀手，Jack和Veronique将如何突出重围？