本片获2007罗马电影节最佳男演员奖。一个犹太孤儿亲眼目睹了家人被纳粹杀害，而他本人则被一位希腊考古学家解救并收养。之后，他便跟随着养父先后在不同的国家生活。小孤儿逐渐长大并拥有了正常的生活，而养父的事业也逐渐发展。但是有一天，当孤儿无意中打开养父的记事本时，却发现了养父生活中不为人知的一些事……

本片获2007罗马电影节最佳男演员奖。一个犹太孤儿亲眼目睹了家人被纳粹杀害，而他本人则被一位希腊考古学家解救并收养。之后，他便跟随着养父先后在不同的国家生活。小孤儿逐渐长大并拥有了正常的生活，而养父的事业也逐渐发展。但是有一天，当孤儿无意中打开养父的记事本时，却发现了养父生活中不为人知的一些事……

晴朗的一天，某座城市街头，汤姆和小老鼠杰瑞又展开了无休无止的追逐战。经过一个拐角后，杰瑞发现围墙上有一张马戏团的宣传海报，于是从海报的狮子嘴钻了过去。汤姆尾随而至进入马戏团的驻地，且一时没找到杰瑞。躲在暗处的小老鼠突然被巨大的哭声所吸引，原来一头大小脚上扎了钉子，无人帮它取下，痛苦万分。杰瑞见义勇为，帮大象拔出钉子。高兴的大家伙自然要报答这份恩情，将处心积虑的汤姆好好教训了一顿。夜幕降临，马戏团内精彩的节目上演，杰瑞穿着华丽的和他新认识的大象朋友一同登台。贼心不死的汤姆自然要想法躲过大象抓住他的猎物…… 本片英文题目来自旋转木马（Merry-Go-Round）。

James 一直活在女友小遥死去的悲痛中，由于一次交通意外让他永远的失去了自己的女友。为了找回女友，他选择了进入时空幻想屋，并接受四维空间的传送。但是传送闹钟只能响五次，如果第五次还不选择出来，那么就真的出不来了。最后，James该如何在空间中做出抉择？

陈宇在婚礼当天遭女方家临时加价，他为娶李青，钻一年车底，搭进母亲养老本买了婚车，婚礼当天李青家却要求将车过户给她弟弟，否则不上车。陈宇拒不让步，扔了捧花开车离去。他随后发律师函要求退彩礼、调查李亮前科、联合四位被李亮骗过车的姑娘集体作证，最终逼李家退回22万，李亮当众道歉，张岚的骗婚链条被连根拔起。一年后陈宇卖掉婚车为母亲买房养老，偶遇李青，两人擦肩而过。他守住底线，也守住了自己的生活。

感恩节到了，白人女孩四月（凯蒂•霍尔姆斯 Katie Holmes 饰）在黑人男友巴比（德瑞克•卢克 Derek Luke 饰）的劝说下，终于鼓足勇气邀请她的家人共进晚餐。然而，家人对于这个约定却各怀心事，原因是四月曾经的叛逆行为令他们望而生畏。这时，父亲吉姆（奥利弗•普莱特 Oliver Platt 饰）还是积极招呼全家前往，但是在路上母亲乔伊（派翠西娅•克拉克森 Patricia Clarkson 饰）对此冷嘲热讽，希望取消这次聚会…… 四月为了感恩节大餐煞费苦心。她在黑人夫妇的帮助下，制作了香浓的火鸡大餐，但是为了寻找存放的烤箱，她却几经周折；与此同时，巴比为了给四月的家人留下好印象，他计划向朋友借西装，却遭受了意想不到的打击……

这是一段与遗憾有关的爱情故事，女孩曾经拥有一个挚爱她的人，却没能珍惜，她一直都认为，只要她肯回头，那份爱就不会转移，其实，没有人，会不停的在原地守候。

A somber retrospective on the final days of the Sakura-tai theatrical troupe that had arrived in the island of Hiroshima to begin preparations for the staging of a play and, at 8:15 on the morning of August 6, 1945, became victims of the atomic bombing, Sakura-tai Chiru is a thoughtful examination of artistic imperative in a time of uncertainty and national crisis. Using the 1987 commemorative ceremony in Hiroshima and the dedication of a memorial to Sakurai-tai at Gohyaku-Rakanji Temple as a springboard to the re-examine the life and careers of the actors (and in particular, the troupe's director, renowned film and theater actor Sadao Maruyama who had appeared in such notable films as Mikio Naruse's Wife! Be Like a Rose!), the film is composed of a series of interviews with friends, family, and colleagues (among them, Nobuko Otawa, Eitaro Ozawa, Haruko Sugimura, and Osamu Takizawa) and re-enactments of the remaining survivors' tragic fate (four actors had survived the immediate bombing - Maruyama, Keiko Sonoi, Shozo Takayama, and Midori Naka - only to inevitably succumb to death days later). The film traces the evolution of the theatrical troupe within the context of Japanese history, from its early permutation as a government-mandated propaganda tool in the 1930s, to established actor, Maruyama's creative directorship of the splinter organization, to the Great Tokyo Air Raid of March 10, 1945 that caused several (predominantly male) actors to take indeterminate leaves of absence from the troupe in order to help their families (and city) rebuild, to the troupe's decision to send out two of the four remaining male actors in order to scout for replacement actors for their August Hiroshima engagement. These seemingly mundane operational decisions - to continue with the performance despite personal hardship and wartime uncertainty - would inevitably lead to the fate of Sakura-tai in light of the tragic context of world history. Tracing the fates of the four survivors as they sought the safety of family and friends after the atomic bombing only to endure lingering, agonizing deaths from incurable radiation poisoning, what emerges from the film's harrowing and deeply personal account is a sense of exploited and trivialized humanity in the face of military aggression and inhuman politics.