10月28日 WCBA常规赛 武汉女篮vs北京女篮

暂无简介

新人类！男友会漏电

该剧讲述了人气偶像胡理（敖瑞鹏饰）发现自己真实身份为人工智能，因出现不可修复的故障，被公司欲以“抑郁症自杀”的形式销毁，而后胡理逃至女主纪念（吕小雨饰）家躲避，开启了奇幻浪漫的同居生活。

猪猪侠之竞速小英雄5

超星特工的假期里，热爱赛车的猪猪侠与迷糊博士来到向往已久的竞速星球，往届冠军传奇车手银河的儿子星航，本地捡破烂的卜三、卜四和维修机器人小队，相继加入组队挑战超竞速大赛。面对使用违规加速化学剂的车手的恶意竞争，猪猪侠和星航逐渐产生友谊和默契，一起提升赛车技术，不断挑战赛车和自我的双重极限，最后成功突出重围跻身决赛圈。

BTS 防弹少年团：PERMISSION TO DANCE ON STAGE - 洛杉矶

前所未見的大規模紫色歡呼聲渲染了洛杉磯。睽違了兩年，BTS在美國洛杉磯SoFi體育場舉辦《PermissiontoDance》實體演唱會。為了展現出所有人期待已久的精彩演出，防彈少年團帶來從《On》到《PermissiontoDance》等歌曲的華麗表演。令人感動的舞臺終於實現了，轉播電影將傳達出極致澎湃的感動。期待許久的會面，渴望一睹風采的舞臺。飽含著過往思念的歌曲與歡呼聲充斥著SoFi體育場，讓人真切感受到音樂力量能使眾人合而為一。

错

故事讲述一个男人寻找自己走失的狗狗，在这个过程中他遇到了慕男狂披萨快送女、一个热爱慢跑的邻居以及一件神秘的怪事……如果你看过《橡皮轮胎》绝对不难想象这部《全错了》的调子，奇怪的电子乐，钟表上7：60的时间，还有每个人不停的问“Why”，充满了神经质的快感。

此情此刻

这是四段关于情、关于重新出发的故事。由「丽诚影室」这照相馆、里面的相片和人物互相牵引。四个故事同时开展，各人于照相馆内穿插出现，互相影响。

王平开辟根据地

由电影频道出品的电影《王平开辟根据地》是一部军事题材的电影，影片讲述了在军阀混战的地区，王平团结了一支人民的武装并率领队伍披荆斩棘、勇挫敌寇的故事，在艰难的抗日战争中让我们领略了英勇无畏的榜样军人王平。

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.

白云桥

　　孟妍（钟萱 饰）与情人李小天（夏望饰）合谋报复自己的丈夫张青（温兆伦 饰），便收养古曼童下巫蛊诅咒。但是一天晚上孟妍在白云桥上真的碰到了自己堕掉孩子的婴灵，并告诉她一个惊天秘密，之后又被另一种神秘的力量控制，开始对身边的人展开疯狂的报复。到底如何破除这道劫数，成为一道难解的谜团。

楚萨娅

90年代初的乌克兰，在两个敌对帮派之间的暴力冲突中，一切都取决于代号“异客”的女孩安吉拉。她的弟弟是黑帮成员，想要指证自己的团伙。为了给他施加压力，黑帮头目派手下道捷克将安吉拉带来乌克兰作为人质。很快，操纵、诱惑和背叛将改变这次人质劫持⋯⋯

同一屋檐下

柏木达也（江口洋介饰）自马拉松退役后，打算回乡下结婚，开始新的人生。同时，他也打算找回四散各地的弟弟妹妹——7年前父母双亡后，兄弟们便天各一方。 　　7年的时空间隔，如今，每个人有着截然不同的际遇：和上司有不伦关系的小雪（酒井法子饰）、被医院院长收为养子的雅也（福山雅治饰）、混迹街头的不良少年和也（いしだ壹成饰）、高中生小梅（大路惠美饰）和因事故而双腿残疾的文也（山本耕史饰）。纵使是亲人也难免心生嫌隙…… 　　可达也决心承担起家庭的重担，无论如何也要让大家重新团聚在一起，他克服了重重困难，甚至牺牲了自己的婚事…… 　　于是，手足6人终于聚在“同一屋檐下”，一个事故和意外频生，拌嘴和冲突不断，但是同时也是充满了欢声笑语的温馨家庭的平凡故事就此上演。

命转情真国语

阴间见习判官（谢天华饰）因不满庄玉雪（陈妙瑛饰）、方家希（梅小惠饰）的命运安排，擅自更改了二人的生死册，闯下弥天大祸逃往到阳间，恰遇戴耀东（张达明饰）车祸身亡。戴耀东弥留之间借尾还魂，从此改变了戴耀东一生……