刚刚毕业的大学生张小军，工作刚满一年公司就倒闭了。在全球经融危机的大环境下，他只能混入失业的大部队，悲催地游荡在南京街头。他被超市保安误认为是小偷而遭受一顿毒打，又好心帮助一位老人却被无辜冤枉。此时的小军心中最大的愿望，就是能够回到农村当一位农民。相较于失魂落魄的小军，大洪显然是一个摸爬滚打也死不回头的主儿。两人意外的陷入一场权钱交易的凶杀风波，可这不义之财却没有给他们丁点儿希望。　　导演刘健“三年磨一剑”，集导演、编剧、原画、动画等工作于一身，被誉为中国“第一部黑色动画长片”。本部动画短片入选第50届昂西动画节最佳动画长片奖竞赛单元，并荣获多项国内外大奖。

　　俞美丽是一个普通的农村姑娘，因为长了一脸的“克夫斑”，一直嫁不出去；碰巧遇到了矿工大庆，结果等父亲认可了婚事的时候，大庆却遭遇了意外。 美丽治好了斑，穿着新娘服来到了灵堂，兑现了自己的承诺

她, 一个接受良好教育的富家乖乖女。 他, 一个热衷于非法摩托车赛的狂野青年。 两个属于不同世界的人相遇相识, 会擦出怎样的火花？ 你是否也在期待天空之上三公尺的幸福？

本片讲述了6段烈日中的爱情故事：香港的中年司机（张学友 饰）因故结识了深圳的洗脚妹（刘若英 饰），两人日久生情；深圳，Wasabi（徐若瑄 饰）一直苦等酱油师傅（吴彦祖 饰）对爱的回应，但对方却心怀苦衷；香港，海滩卖遮阳伞的大叔（刘家辉 饰）推销笑话，但内心始终牵挂着亡妻；深圳，修理工阿威（谢霆锋 饰）邂逅了飞车女（徐熙媛 饰）碰撞出了火花；北京摄影师（段奕宏 饰）对模特的表现不满，后者负气离去，而他却突然失明，在助手（付辛博 饰）的陪伴下，他们追到深圳，各怀心事；20年前的镇江，乡下男孩（井柏然 饰）爱慕纺织女工（Angelababy 饰），并接受了在烈日下苦等100天的爱情誓约……

德国29岁有着移民背景的年轻导演Burhan Qurbani的处女作，电影通过三个互相联系的故事反映了今天德国的一体化进程。这部电影名字叫做《沙哈达》（Shahada），取自穆斯林信仰的一个阿拉伯名字。三个故事被精心得编织在一起。一个非法堕胎的女孩蒙受着羞辱准备远离原教旨教义控制的地方；一个男同性恋带着和教义冲突的性取向的挣扎；还有一个警察，在妻子前面他是个好穆斯林，但事实上有段婚外情。

亚当（Emile Abossolo M'bo 饰）曾是一名非常优秀的游泳运动员，还得到过冠军的荣誉，如今，年近60的他早已经告别了赛道退出舞台，现在的亚当，是一家豪华酒店里的泳池救生员。因为酒店经营不善，导致遭人收购，被收购之后，一切亚当早已经习以为常的事情都开始发生了变化。首当其冲的就是他遭到了变相的解雇，需要将职位拱手相让给自己的儿子阿比代尔（Youssouf Djaoro 饰）。　　这个国家此时正在进行残酷激烈的内战，政府强制性的规定每一家都必须出钱或者出力。亚当一贫如洗，想要出钱是不可能的，那么，他就只剩下阿比代尔可以“奉献”给他的祖国了。

55岁的马里奥在一间停尸房里工作，他有时也会写一点验尸报告。1973年中期，智利发生了一场大规模的政变。这段时间里，他疯狂地迷恋上了自己的女邻居南希。南希是一家夜总会的舞女。

故事发生在日本的江户时代，一名神秘的男子出现在了武士桂小太郎（石田彰 配音）的面前，他手握妖刀“红樱”，要求试刀，这个夜晚之后，桂便下落不明。桂的宠物伊丽莎白（高松信司 配音）找到万事屋的神乐（钉宫理惠 配音）和新八（坂口大助 配音），委托他们寻找主人的下落。同时，银时（杉田智和）也受到委托，寻找四处作恶的红樱的下落。三人的线索汇聚到了一艘空中飞艇上，由于远离警察的管辖范围，飞艇里的恶势力一手遮天。在那里，银时遇见了曾经的战友现在的对手高杉晋助（子安武人 配音），高杉正带领着自己的鬼兵队企图毁灭江户。一面是穷凶极恶的恐怖分子，一边是暴虐嗜血的妖刀红樱，身受重伤的银时能够平安脱险拯救江户吗？　　此次剧场版重制了《银魂》动画中的《红樱篇》，其中，在原作中未出场的真选组也将在故事中大显身手。

　　The 2-part feature-length documentary "25 ze šedesátých aneb Československá nová vlna" ("25 from the Sixties, or Czechoslovak New Wave") presents a complex view of the phenomenon of Czech and Slovak New Wave in the cultural and social context of the 60's. 25 fundamental films commented on by their makers and film historians offer the viewer a dramatic insight into the golden era of Czechoslovak cinema.　　The documentary is a follow-up on the biographical TV series "Zlatá šedesátá" (Czech Television, 2009), based on the filmmakers' personal remembrances. As opposed to the series, the documentary presents the Czech and Slovak cinema of the 60's in the national, international and also inter-generational context. It describes the ways the New Wave crossed the existing artistic boundaries, how it variegated the world cinema and where it left an ineffaceable impression. It analyses the work of filmmakers in a state-funded cinema, under the pressure of ideological demands on one hand and commerce on the other. It presents the dilemma of a man - an artist - on the edge between contradictory social systems and incongruous aesthetic requirements. The existential drama of a man acting freely and at the same time mercilessly crushed by the wheels of the system.　　The 60's are, from this point of view, mostly an era of fortunate historical constellation, not only in - at that time - Czechoslovakia, but on a world-wide scale. An era of expectations and upswing, but also an era of exemplary human decisions and artistic pursuit. Those are some of the things "25 ze šedesátých aneb Československá nová vlna" wants to commemorate.　　Part 1 comments on:　　■"Slnko v sieti" ("The Sun in a Net," 1962) by Štefan Uher　　■"Konkurs" ("Audition," 1963) by Miloš Forman　　■"Křik" ("The Cry," 1963) by Jaromil Jireš　　■"Postava k podpírání" ("Joseph Kilian," 1963) by Pavel Juráček & Jan Schmidt　　■"Každý den odvahu" ("Courage for Every Day," 1964) by Evald Schorm　　■"Démanty noci" ("Diamonds of the Night," 1964) by Jan Němec　　■"Intimní osvětlení" ("Intimate Lighting," 1966) by Ivan Passer　　■"Ať žije republika" ("Long Live the Republic," 1965) by Karel Kachyňa　　■"Obchod na korze" ("The Shop on Main Street," 1965) by Ján Kadár & Elmar Klos　　■"Romance pro křídlovku" ("Romance for Bugle," 1966) by Otakar Vávra　　■"Sedmikrásky" ("Daisies," 1966) by Věra Chytilová　　■"Ostře sledované vlaky" ("Closely Watched Trains," 1966) by Jiří Menzel　　Part 2 comments on:　　■"Kristove roky" ("The Prime of Life," 1967) by Juraj Jakubisko　　■"Stud" ("Shame," 1967) by Ladislav Helge　　■"Svatba jako řemen" ("A Hard and Fast Marriage," 1967) by Jiří Krejčík　　■"Drak sa vracia" ("Dragon's Return," 1967) by Eduard Grečner　　■"Marketa Lazarová" ("Marketa Lazarová," 1967) by František Vláčil　　■"Spřízněni volbou" ("Elective Affinities," 1968) by Karel Vachek　　■"Spalovač mrtvol" ("The Cremator," 1968) by Juraj Herz　　■"Zabitá neděle" ("Squandered Sunday," 1969) by Drahomíra Vihanová　　■"Pasťák" ("The Decoy," 1968) by Hynek Bočan　　■"Případ pro začínajícího kata" ("Case for a Rookie Hangman," 1969) by Pavel Juráček　　■"322" ("322," 1969) by Dušan Hanák　　■"Slávnosť v botanickej záhrade" ("Celebration in the Botanical Garden," 1969) by Elo Havetta　　■"Všichni dobří rodáci" ("All My Good Countrymen," 1968) by Vojtěch Jasný

　　The Balkan Peninsula is notorious for being one of the great battlegrounds of history. And yet, it possesses another side unknown to many, where ancient forests and vast wetlands harbor pristine wilderness, and sheer cliff walls and desolate plateaus preserve a seemingly unchanged past. Surveying these striking and stark landscapes, one might think they’ve ventured into the Middle-earth of J.R.R. Tolkien’s Lord of the Rings.　　Indeed the Balkan Peninsula is home to a variety of regions that border on mythical. In Croatia’s Kopacki Rit Wetlands, land mines keep people away, but enable native wildlife to thrive. Further south, Montenegro’s Tara River carves through Europe’s longest and deepest canyon, and neighboring forests provide refuge to rare animals such as the Balkan Lynx. To the east, millions of birds flock to the Danube Delta to feast on swarms of mosquitoes. And at the west of the Balkans is Skadar Lake, a remarkable landscape of peaks and water.　　This is a journey to a world seemingly forgotten by time. This is the wild Balkans.