法网追凶

海洲市公安局长遭遇枪击昏迷不醒，原省公安厅刑侦处处长田丰临危受命，空降海洲任代理局长之职，在副局长胡克艰和刑警队长赵梦楠配合下对冉江案展开全面调查。此时，神秘杀手再次现身医院，试图接近冉江。在调查杀手的过程中，又一位知名企业家遇害，俩家涉黑KTV的领班杜大浩走入警方视线，成为最大嫌疑人。同时，几次大的扫黑行动也因泄密而失败，警局内部潜伏着黑帮卧底，警察也收到来自黑帮的重要线报。一场关于卧底与反卧底的盘查在警局和黑帮内部展开，究竟谁是卧底？黑白之争、正邪之战，又将何去何从？

想你

15岁的李秀妍（尹恩惠饰）因被贴上“杀人犯女儿”的标签后在学校被孤立，总是缩着肩低着头行走。直到遇到愿意和自己当朋友的韩正宇（朴有天饰）一切才变得不一样。一个雨天，正宇被绑架了，前去营救的秀妍也一起被带走。有着贩毒和强奸犯前科的绑架犯对秀妍实施了强暴。在绑架犯没在看守的短暂时间，正宇挣脱开绳子，看了看秀妍便因害怕自己逃走了，从此再也没有见过秀妍……14年后，成为重案组刑警的正宇为了抚平那段伤痛，全身心地投入到追捕犯人的工作中。从巴黎回来的秀妍成为了有着不为人知的痛苦的时尚设计师zoe。姜亨俊（俞承豪饰）为了逃离要杀害自己的正宇父亲韩泰准而不得已四处躲藏，与母亲生生离别。而那段日子里与秀妍相遇就是人生的另一个幸福。金恩珠（张美仁爱饰）为了能抓住杀死父亲的凶手努力想成为警察，却三次考试落榜。除了对父亲深深的思念，就是一厢情愿的单恋正宇。四人今后会有如何交错的命运?

狂犬惊魂

家庭主妇唐娜（Dee Wallace 饰）和另一个男人斯蒂夫（Christopher Stone 饰）有染，当她决定中止这段关系的时候，斯蒂夫却报复性地将他们的关系透露给唐娜的丈夫维克（Daniel Hugh Kelly 饰），夫妻关系顿时陷入僵局。某天，维克以公务之名离开，唐娜则带着5岁的儿子泰德（Danny Pintauro 饰）来到某汽车旅馆居住。 　　汽车旅馆老板的儿子布莱特（Billy Jayne 饰）有一条名叫古卓的圣伯纳犬，古卓偶然被蝙蝠咬了一口，竟由此变成嗜血如命的凶残恶犬，它开始向唐娜母子发起了攻击…… 　　本片根据史蒂芬•金的同名小说改编，并荣获1987年葡萄牙奇幻国际电影节观众评委会奖。

偷书贼

1939年的德国，9岁的小女孩莉赛尔和弟弟被迫送往慕尼黑远郊的寄养家庭。6岁的弟弟不幸死在了路途中。在冷清的葬礼后，莉赛尔意外得到她的第一本书《掘墓人手册》。 　　这将是14本给她带来无限安慰的书之一。她是个孤苦的孩子，父亲被打上了共产主义者的烙印，被纳粹带走了；母亲随后也失踪了。在弹奏手风琴的养父的帮助下，她学会了阅读。尽管生活艰苦，她却发现了一个比食物更难以抗拒的东西——书。她忍不住开始偷书。莉赛尔，这个被死神称为“偷书贼”的可怜女孩，在战乱的德国努力地生存着，并不可思议地帮助了周围同样承受苦难的人。

七月与安生

七月（马思纯 饰）和安生（周冬雨 饰）的第一次相识在十三岁，她们一个是特立独行飞扬跋扈的“野孩子”，一个是单纯温婉循规蹈矩的“乖乖女”，从那一年开始，七月和安生几乎形影不离，她是她的光，她是她的影子，直到某一天，一位名为苏家明（李程彬 饰）的少年出现在了七月的身边，七月恋爱了。 安生决定前往北京讨生活，临别之前，七月意外的发现苏家明贴身带着的玉佩，竟然出现在了安生的衣领里。安生走了，七月和苏家明的恋情持续着，他们考入了同一所大学，约定一毕业就结婚。可是，事情并没有像七月所想象的那样发展，而她和苏家明之间的关系，亦因为安生的归来而产生了新的变数。©豆瓣

体坛秘史：凯特琳·詹纳

由《异狂国度》创剧人打造的五集纪录片以全新视角讲述了广阔体育世界中的故事。从网球到拳击再到篮球，即使您认为已经听过这些故事，但观看时仍会有种焕然一新的感觉。每周更新，每部电影的开头都是标志性的大事件（大战、奥运会、季后赛），然后再根据亲身经历之人的叙述深入挖掘新闻头条之外发生的事情，揭示了隐藏在汗水之下的勇气、韧性、心碎、胜利、暴力、喜剧和悲伤。著名的“奥本山宫殿斗殴事件”的亲历者揭露内情；奥运选手凯瑟琳·詹纳反思她赢得金牌的旅程；拳击手克里斯蒂·马丁在拳击场外进行了一场生死搏斗；职业网球运动员马迪·费什讲述他与心理健康问题所做的斗争；“Trashers”球队不合群的曲棍球运动员们听命于据称是黑帮老大儿子的少年...《体坛秘史》讲述了成为冠军所需要的激情和专注的核心，以及在场外剥去胜利外衣的种种方法。人们都说，这是一场争夺世界最伟大运动员桂冠的比赛。在为期两天的残酷比赛中，参赛者的奔跑、跳跃和投掷能力将受到考验。1972年的一次尝试失败后，凯特琳·詹纳为自己设定了目标：在1976年蒙特利尔奥运会上赢得十项全能金牌。连续四年坚持不懈地训练，詹纳成为了当时的夺冠热门。但对詹纳来说，1976年奥运会的十项全能比赛不仅仅是一项运动测试。这是一种易于接受的分散注意力的方式，可以让她从更具有挑战性的内心动荡中解脱出来。在蒙特利尔创造了新的世界纪录并赢得金牌后，詹纳的形象成为了运动员卓越表现的标准，她也瞬间成为了美国的超级明星。然而，她渴望的运动成就和她塑造的名人形象，也成了她接受自己身份的主要障碍。通过一系列从未公开的档案影像（包括新发现的奥运录像和詹纳家族的家庭录像），从赢得金牌到决定回归家庭和孩子身边，詹纳以全新的视角回忆了自己的生活，她对过去的自己和现在的自己有着清晰的认识。

艾薇和豆豆：芭蕾必修课

IvyandBeanareecstatictosignupforballetclassuntiltheyrealizetherewillbenoswordfighting,kickingor“dancingtothedeath”allowedinclass.WhenBean’sparentswon’tletherquit,IvyagreestostickitoutwithBeanthroughthebigdancefestivalperformance.

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.

海岸露营地

在一个比利时海岸营地，市民都希望完全自由地生活，忘记生活的义务。他们远道而来，一部分人甚至想有一些性冒险或触及爱的事情。他们大都喜欢看足球、拳击或选美比赛，而对著名作家皮埃尔·梅尔坦的采访不感兴趣......

再审风云

　　A lawyer battles corruption both inside and outside the courtroom. 　　一名律师在法庭内外与腐败作斗争。

目无王法

本片由袁浩泉導演、倪匡編劇，何中衡（白彪）、秦英豪（李修賢）及羅正（孫建）乃三個初出茅廬的捕快，由縣辦之捕快訓練班出來後，秉除暴安良，維護法紀之宗旨，盡力撲滅罪行，縣中賭館妓院，均遭掃蕩。三人雖盡見縣官與捕頭目無王法以及貪財害命的暴行，卻因堅拒同流合污，而慘被陷害。究竟，正義能否戰勝強權？

21-22赛季西甲第34轮 巴列卡诺VS皇家社会

5月2日 21-22赛季西甲第34轮 巴列卡诺VS皇家社会