大选临近，选情告急，拘谨慎言的执政党党魁成众矢之的，压力之下玩失踪，念到当年康城之恋，毅然逃到法国重访以电影为业的旧情人。可怜幕僚急如热锅上的蚁，找来党魁神神化化的哲学家孖生兄弟，瞒天过海替身上阵，岂料冒牌更受欢迎，竟以亲民表现和满腹哲理扭转颓势赢尽民心。果然人生如戏，政治也不过一场表演。汤尼沙维路（《夺命的富贵》）一人分饰两兄弟，容貌一样个性相反，本来各走各路，忽然调换，一边是不羁教授不拘一格释放热情激励众生，另一边就是离地政客走入梦工场再觅春风寻找自由，演来出神入化。

大选临近，选情告急，拘谨慎言的执政党党魁成众矢之的，压力之下玩失踪，念到当年康城之恋，毅然逃到法国重访以电影为业的旧情人。可怜幕僚急如热锅上的蚁，找来党魁神神化化的哲学家孖生兄弟，瞒天过海替身上阵，岂料冒牌更受欢迎，竟以亲民表现和满腹哲理扭转颓势赢尽民心。果然人生如戏，政治也不过一场表演。汤尼沙维路（《夺命的富贵》）一人分饰两兄弟，容貌一样个性相反，本来各走各路，忽然调换，一边是不羁教授不拘一格释放热情激励众生，另一边就是离地政客走入梦工场再觅春风寻找自由，演来出神入化。

故事的背景设定在1972年，芭比原本是一个本分的家庭主妇，在被丈夫抛弃后，一位主张妇女解放的朋友鼓动她扔掉胸罩，勇敢的走到街上去。此后芭比接触到了许多关于裸体营、嬉皮士、双性恋等新事物，身处时代解放的洪流之中的她，重新认识到了自己的价值。这部片子更像是对那个年代的一种致敬。

這是一個情節豐富，內容惹笑的時裝劇集，內容以在一所監獄內發生的事情為主線，以描述一群監犯和他們的所作所為，和監獄之間的關係，監獄內的制度，管理人員的態度等，其中發展事故頗為曲折，非常引人入勝。 劇情略述如下： 凌可人是一個不學無術的少年，常與一群臭味相投的友人為伴，在外鬧事，雖經其姐凌可楓苦苦相勸，仍是陽奉陰違。 由外國聘來的監獄主任督導員譚國強，為了解本地監獄實況，假扮罪犯混入監獄，與積犯王家賜同一牢房，而王家賜之母親Mi Mi Wong 為一老娼妓，在一偶然機會結識可人，二人遂合作，由可人扯皮條替她拉客，後因利益衝突而拆夥，而可人亦因事被捕入獄。 譚國強在獄中發現獄長闡爆管理過苛，且剝削犯人伙食等種種不當做法，後更被逼顯露身份，因可人被嫁禍，國強誤以為他劣性難改，無可救藥，於是挑選可人作為某次新技術試驗的試驗對象，令可人性情大變…… 另方面家賜因在獄中行為良好，得以提早獲釋，進入馬滔開設的私家偵探社工作，並結識少女林美玉，對她一見傾心，但家賜劣性不改，終於又再次犯事……

這是一個情節豐富，內容惹笑的時裝劇集，內容以在一所監獄內發生的事情為主線，以描述一群監犯和他們的所作所為，和監獄之間的關係，監獄內的制度，管理人員的態度等，其中發展事故頗為曲折，非常引人入勝。 劇情略述如下： 凌可人是一個不學無術的少年，常與一群臭味相投的友人為伴，在外鬧事，雖經其姐凌可楓苦苦相勸，仍是陽奉陰違。 由外國聘來的監獄主任督導員譚國強，為了解本地監獄實況，假扮罪犯混入監獄，與積犯王家賜同一牢房，而王家賜之母親Mi Mi Wong 為一老娼妓，在一偶然機會結識可人，二人遂合作，由可人扯皮條替她拉客，後因利益衝突而拆夥，而可人亦因事被捕入獄。 譚國強在獄中發現獄長闡爆管理過苛，且剝削犯人伙食等種種不當做法，後更被逼顯露身份，因可人被嫁禍，國強誤以為他劣性難改，無可救藥，於是挑選可人作為某次新技術試驗的試驗對象，令可人性情大變…… 另方面家賜因在獄中行為良好，得以提早獲釋，進入馬滔開設的私家偵探社工作，並結識少女林美玉，對她一見傾心，但家賜劣性不改，終於又再次犯事……

Synopsis 　　August 1945. Choe Han-jung (Jeon Chang-keun) is a Korean freedom fighter who is serving time in prison after being betrayed by Japanese collaborator Nam-bu (Dog Eun-gi). He succeeds in escaping from prison and takes refuge in the home of Hye-ja (Hwang Yui-hee), who is a nurse at a university hospital. Han-jung's underground organization proceeds with its plan for an armed uprising, but Park (Kim Seung-ho) gets captured by the Japanese military police on his way back from acquiring dynamite. Han-jung rescues Park and hides out in the apartment of Nam-bu's girlfriend Mi-hyang (Yoo Kye-seon). While giving Han-jung shelter, Mi-hyang falls in love with him and goes to the basement housing Han-jung's underground organization in order to purvey information and funds. However, she is followed there by Nam-bu and the military police, who shoot and kill her. Han-jung is also wounded and moved to the university hospital. Hye-ja, who has secretly been in love with Han-jung, helps him to escape from the hospital while the military policeman on guard has dozed off. 　　Notes 　　"A full-fledged dramatic film made with the participation of representative figures in the Korean film industry immediately after the liberation of August 15, 1945, Viva Freedom! is a significant film in the history of Korean cinema in that it takes the anti-Japanese struggle and the restoration of Korea's independence as its main subjects." (Chung Jong-wha) 　　Viva Freedom! is one of the earliest dramatic films to be made after Korea regained its independence in 1945. Two figures who represented the Korean film industry during the Japanese colonial period, Jeon Chang-keun and Choi In-kyu, wrote and directed the film, respectively. In addition, the film enjoyed the participation of Han Hyeong-mo, who had returned after studying cinematography in Japan; Kim Seong-chun, Korea's first-generation lighting director; and Yang Ju-nam, the first editor in the history of Korean film. At the time of its release, it also enjoyed tremendous commercial success thanks to the response of an audience still elated by the nation's recent liberation. Viva Freedom! affords glimpses into both the thematic consciousness of the time and the early interest of Korean cinema in the question of genre. Viva Freedom! deals with the themes of resistance against Japanese rule and the fight for independence using the generic conventions of the melodrama and the action movie. That is, if the relationship between freedom figher Han-jung and the two women who love him proceeds according to the plot conventions of the melodrama, the chase and gun fight scenes involving the Japanese military police, for which the technique of cross cutting was attempted, demonstrate the visual characteristics of the action movie. While Viva Freedom! is important for its historical value as a film about national independence, it is also interesting as an early example of the action-melodrama in Korean film history.

In this fictionalized biography, young Pancho Villa takes to the hills after killing an overseer in revenge for his father's death. In 1910, he befriends American reporter Johnny Sykes. Then a meeting with visionary Francisco Madero transforms Villa from an avenging bandit to a revolutionary general. To the tune of 'La Cucaracha,' his armies sweep Mexico. After victory, Villa's bandit-like disregard for human life forces Madero to exile him. But Madero's fall brings Villa back to raise the people against a new tyrant...

方罗兰重逢了旧爱章秋柳，家国情仇之际二人盟誓今生，但前妻陆梅丽与闺蜜章秋柳一番情感挣扎，成为抗战斗士的方罗兰发现吴淞炮台军事秘密欲揭惊天黑幕，不料胡抱素突然现身痛下杀手……

孟加拉国导演穆斯塔法·萨瓦尔·法罗齐曾凭借《蚁族与明星》入围2014年上海国际电影节金爵奖主竞赛单元，十年后，这位老朋友携新片《类自传》与上海影迷重聚。在这部新片中，法罗齐本色出演，与他现实生活中的妻子努斯拉特·伊姆罗斯·蒂莎扮演一对明星夫妇。影片展现了导演法尔罕和演员 蒂蒂在面临着生育的社会压力时所经历的错综复杂的关系变化，英文片名“Something Like an Autobiography”取自日本电影天皇黑泽明自传《蛤蟆的油》的英文书名，为本就“元叙事”的结构增添了一层迷影意味。

孟加拉国导演穆斯塔法·萨瓦尔·法罗齐曾凭借《蚁族与明星》入围2014年上海国际电影节金爵奖主竞赛单元，十年后，这位老朋友携新片《类自传》与上海影迷重聚。在这部新片中，法罗齐本色出演，与他现实生活中的妻子努斯拉特·伊姆罗斯·蒂莎扮演一对明星夫妇。影片展现了导演法尔罕和演员 蒂蒂在面临着生育的社会压力时所经历的错综复杂的关系变化，英文片名“Something Like an Autobiography”取自日本电影天皇黑泽明自传《蛤蟆的油》的英文书名，为本就“元叙事”的结构增添了一层迷影意味。