大型历史电影史诗《解放》由五部电影组成。第四部电影是《柏林之战》。1945年卫国战争的最后几个月。正是在这些日子里，决定了被奴役欧洲的命运。维斯洛-奥德行动开始了。科涅夫、茹科夫和罗科索夫斯基指挥的三条战线向德国首都冲去。英美军队也前往柏林。丘吉尔建议，"走在俄罗斯人前面"，与希特勒的使者开始秘密谈判，雅尔塔会议开幕。柏林的命运将在战场上决定。

霸道总裁先离婚后爱，疯狂追求财迷前妻！沈氏集团总裁沈彦当年与女主吴佳慧签合约，开始契约婚姻。三年后，合同到期，两人离婚，但霸总早已爱上她，霸总：你还愿意继续做我老婆吗？霸总爆笑追妻，两人互相喜欢，霸总陪女主逛街，霸气包场，最终二人走入婚姻的殿堂。

抗战相持阶段，国民政府为保卫中国与世界的唯一通道 – 滇缅公路，派出30万精锐部队入缅作战，惨烈的战争让远征军将士伤亡过半，至今，远征军英烈遗骸大多未得到妥善安置。 　　中国内地志愿者们努力想通过民间方式让遗骸回国，但困难重重，艰难推进。2015年，经过4年多的努力，共收敛347 具远征军英烈遗骸，但在回国最后关头，遭遇意外阻碍。2017年，志愿者们再次前往缅甸，祭拜关在黑屋里的347具远征军英烈遗，盼归来，胡不归！胡不归！ 　　Synopsis 　　During the stalemate years of the Anti-Japanese Aggression War, in order to defend the Burma Road- the sole surviving international route to China, the Chinese Nationalist government dispatched Special Forces of 300,000 soldiers to fight in Burma. More than half were killed or wounded in the brutal war. Until now, the soldiers’ remains have not been properly preserved and tended. 　　Volunteers from chinese mainland sought to rely on Chinese civil society to bring the remains back, yet the process is full of obstacles. With four years’ efforts, 347 remains of the Expeditionary Force soldiers were uncovered in 2015. However, as volunteers sought to reclaim the bodies of the soldiers who gave their lives in defense of the nation, they ran into unexpected problems at last minute. In 2017, volunteers went to Burma again, honoring the 347 remains of the Expeditionary Force martyrs that were locked in a dark room. We wait for them to come back home! Why not coming back?! Why not coming back?!

本片背景是淘金热时代的美国西北山区——一名刚出狱的囚犯来到镇上接他的儿子回家，认识了照顾儿子的酒吧歌女，但也引起了歌女男友的怀疑。当获释的囚犯和儿子在农庄耕种时，歌女的男友前来寻衅，后来又偷了囚犯的枪和马，赶到矿区去淘金。歌女感到不忍心，留下来照顾囚犯。此时，印第安人前来突袭农庄，于是三人沿河流逃亡到镇上……

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

以丛林生存法则为企划包装，不论是温驯小绵羊，亦或是张扬狮子王，都别妄想这个世界会善待你，困兽之斗终将激发选手无限可能，跳脱传统选秀赛制，加上强烈的视觉概念，塑造节目独特性。节目由两位指标性导师林宥嘉、萧敬腾领军，每集再邀请一位飞行导师进行评选，同样选秀出身的背景，更期望寻找下一个好声音，重拾大众对音乐选秀节目之热情与期待。

卢克（瑞恩·高斯林饰）是一名技艺高超的从事惊险动作表演的摩托车手，他每天要做的就是，穿梭在一个又一个城市之间，在一个又一个狂欢节或嘉年华上用自…

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.