“给我一些回响吧，无论是一片树叶还是一道石缝。”

在2019年母亲节快要到来的时候，在新世相发起了征集：什么东西最能代表妈妈对孩子的爱？1000万读者向我们讲述了3257个母爱故事，最后决定前往其中的12座城市（北京，长春，大连，武汉，宜春，湖州，上海，湛江，呼和浩特，潍坊，成都，营口），走访12位母亲，尝试从这些故事里为母爱找个形状，把它雕刻出来，送给所有母亲。 我们用镜头记录下了12个母亲的故事，用故事里的物件，诠释了“母爱的形状”，并且超过60件代表母爱的物品将跨越16000公里汇集到一起，共同出现在一座雕塑中。 这个片子它是这个母亲节，我们送给所有母亲的礼物。

婚礼前夕，徐萌遭遇未婚夫赵成一家的无耻算计。婆婆仗着徐萌已有身孕，笃定她不敢退婚，竟将承诺好的天价彩礼变成一叠空头欠条，妄图吃绝户榨干她的一切。面对极品一家的贪婪嘴脸，徐萌人间清醒，果断终止婚礼开启反击！她步步为营，以雷霆手段连本带利夺回被渣男一家吸血骗走的全部财产，还顺手拳打从天而降的渣爹继妹。

这里是迦太基的新区，现代建筑与废弃荒地并存之地，人们在建筑工地的中央发现了看门人的焦尸。Batal和 Fatma负责调查此案，他们决定从邻近码头的工人开始盘问，可很快这起案件就被上面以自焚结案，这种处理让人感到非常绝望。但调查二人组并不接受这个结果，因为他们心中仍有很多疑惑。比如为什么看门人偏偏选择在一个如此隐蔽的场所自焚？因为通常自焚者为了引起大量的社会关注，都会选择在市中心这样的地方进行。几天后，在同一片街区，同样死法的尸体再次出现在了废墟中央，而这一切才刚刚开始……

这部来自 Apple TV+ 的聪明、有趣和鼓舞人心的新定格动画系列发生在一个迷人的岛屿上，并邀请观众加入严肃的 Square、勇敢的 Circle 和棘手的 Triangle 的愚蠢冒险，因为他们挖掘一些乐趣、寻找答案并构建关于他们的友谊——同时学习如何处理彼此的差异。“Shape Island”向孩子们展示了友谊可以有多种形式。

A documentary about 'the love that dares not speak its name' - found at the very heart of the Irish Revolution. The hidden stories of eight female couples who were central in the fight that freed Ireland from the British Empire.

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.