The movies Claude Chabrol made in the first ten years of his career are vastly underrated nowadays with the film under review being, arguably, the most obscure of the lot; admittedly, LES GODELUREAUX – an unwieldy single-word title if ever there was one (literally meaning "the popinjays") – could not have endeared it much to audiences. Consequently, it seems rather hard now to believe that Chabrol's more renowned colleague at the "Cahiers Du Cinema", Jean-Luc Godard, once named it among "The Top Six French Films made since the Liberation"(!) alongside Robert Bresson's PICKPOCKET, Jean Cocteau's LE TESTAMENT D'ORPHEE' and Jean Renoir's LE TESTAMENT DU DOCTEUR CORDELIER (all 1959)!! 　　Thematically, the film is basically Bresson/Cocteau's masterful LES DAMES DU BOIS DE BOULOGNE (1945) reworked for the "New Wave" set – though the revenge this time around is triggered by a petty incident between strangers, making the whole scheme an even more cynical one. Apart from the director himself, the film also finds some choice performers at somewhere near their best, notably the two leads: Jean-Claude Brialy (genuinely Mephistophelean, he displays a remarkable flair for melodrama throughout) and an entrancing Bernadette Lafont (peerlessly epitomizing earthy sensuality) – though some, like the reviewer of the "Films De France" website, actually felt their characters to be caricatures! Equally imperative to the success of the film is Jean Rabier's glossy black-and-white camera-work, a typically fine score by Pierre Jansen and also a clever use of overlapping sound (actually one of the revolutionary cinematic techniques characteristic of the French "Nouvelle Vague" movement). 　　The plot – oozing with the hedonistic/nihilistic outlook of Chabrol's regular scribe Paul Gegauff – sees the seemingly bisexual bourgeois fop Brialy sending out coquettish seductress Lafont to attract the attention of a young man (well-played by virtual unknown and future director Charles Belmont) who had spited him at the very start of the film. Subsequently, the newly-minted trio becomes virtually inseparable ensuring an invasion of the latter's domestic life (which embarrasses him no end, since he is still in the custody of a strict and wealthy uncle) – as much as they force him into their own private chaos (which involves not only an omnipresent homosexual valet by Brialy's side but a nerdy soon-to-be-wed cousin whom Lafont has no qualms about seducing in front of her current boyfriend, Belmont)! 　　Although at one point a ménage-a'-trois between the three leads is implied, some of their shenanigans are fairly harmless – such as disrupting an art exhibition with the dissemination of sneezing powder, or an upper-class soiree' by incorporating into the program both a sultry dance (performed by none other than a dark-haired Stephane Audran!) and an eccentric ditty sung by a pathetic ex-vaudevillian lady. However, the bacchanal in the style of Ancient Rome, togas and all – held at Belmont's house, having charged Lafont with its upkeep while he is away on business (in the same vein, Luis Bunuel's contemporaneous VIRIDIANA [1961], would feature a famously blasphemous parody of Da Vinci's "The Last Supper") – has more severe repercussions; this sequence is cleverly, and amusingly, cross-cut by Chabrol with the most formal of restaurant dinners being consumed by the oblivious Belmont and his uncle! 　　Eventually, the schemer feels vindicated and confesses to having taken the young man 'for a ride' and that Lafont (whom the boy had genuinely fallen for and was even planning to marry) had been his tormentor's mistress all along. However, in keeping with the film's darkly humorous tone (boasting a couple of bona-fide howlers along the way), the coda shows that, though obviously broken-hearted at first, Belmont has picked himself up by the time we next see him a year later and is consoling himself with a plain-looking girl; in fact, running by chance into Lafont on a pier, it is rather the latter who is unable to mature – being seemingly involved in yet another romantic scam (with a high-ranking Naval officer, no less)…

The movies Claude Chabrol made in the first ten years of his career are vastly underrated nowadays with the film under review being, arguably, the most obscure of the lot; admittedly, LES GODELUREAUX – an unwieldy single-word title if ever there was one (literally meaning "the popinjays") – could not have endeared it much to audiences. Consequently, it seems rather hard now to believe that Chabrol's more renowned colleague at the "Cahiers Du Cinema", Jean-Luc Godard, once named it among "The Top Six French Films made since the Liberation"(!) alongside Robert Bresson's PICKPOCKET, Jean Cocteau's LE TESTAMENT D'ORPHEE' and Jean Renoir's LE TESTAMENT DU DOCTEUR CORDELIER (all 1959)!! 　　Thematically, the film is basically Bresson/Cocteau's masterful LES DAMES DU BOIS DE BOULOGNE (1945) reworked for the "New Wave" set – though the revenge this time around is triggered by a petty incident between strangers, making the whole scheme an even more cynical one. Apart from the director himself, the film also finds some choice performers at somewhere near their best, notably the two leads: Jean-Claude Brialy (genuinely Mephistophelean, he displays a remarkable flair for melodrama throughout) and an entrancing Bernadette Lafont (peerlessly epitomizing earthy sensuality) – though some, like the reviewer of the "Films De France" website, actually felt their characters to be caricatures! Equally imperative to the success of the film is Jean Rabier's glossy black-and-white camera-work, a typically fine score by Pierre Jansen and also a clever use of overlapping sound (actually one of the revolutionary cinematic techniques characteristic of the French "Nouvelle Vague" movement). 　　The plot – oozing with the hedonistic/nihilistic outlook of Chabrol's regular scribe Paul Gegauff – sees the seemingly bisexual bourgeois fop Brialy sending out coquettish seductress Lafont to attract the attention of a young man (well-played by virtual unknown and future director Charles Belmont) who had spited him at the very start of the film. Subsequently, the newly-minted trio becomes virtually inseparable ensuring an invasion of the latter's domestic life (which embarrasses him no end, since he is still in the custody of a strict and wealthy uncle) – as much as they force him into their own private chaos (which involves not only an omnipresent homosexual valet by Brialy's side but a nerdy soon-to-be-wed cousin whom Lafont has no qualms about seducing in front of her current boyfriend, Belmont)! 　　Although at one point a ménage-a'-trois between the three leads is implied, some of their shenanigans are fairly harmless – such as disrupting an art exhibition with the dissemination of sneezing powder, or an upper-class soiree' by incorporating into the program both a sultry dance (performed by none other than a dark-haired Stephane Audran!) and an eccentric ditty sung by a pathetic ex-vaudevillian lady. However, the bacchanal in the style of Ancient Rome, togas and all – held at Belmont's house, having charged Lafont with its upkeep while he is away on business (in the same vein, Luis Bunuel's contemporaneous VIRIDIANA [1961], would feature a famously blasphemous parody of Da Vinci's "The Last Supper") – has more severe repercussions; this sequence is cleverly, and amusingly, cross-cut by Chabrol with the most formal of restaurant dinners being consumed by the oblivious Belmont and his uncle! 　　Eventually, the schemer feels vindicated and confesses to having taken the young man 'for a ride' and that Lafont (whom the boy had genuinely fallen for and was even planning to marry) had been his tormentor's mistress all along. However, in keeping with the film's darkly humorous tone (boasting a couple of bona-fide howlers along the way), the coda shows that, though obviously broken-hearted at first, Belmont has picked himself up by the time we next see him a year later and is consoling himself with a plain-looking girl; in fact, running by chance into Lafont on a pier, it is rather the latter who is unable to mature – being seemingly involved in yet another romantic scam (with a high-ranking Naval officer, no less)…

男主角在求职前由可爱的女友陪伴度过焦虑，两人甜蜜交往一年。然而他决定赴海外实习，原以为能安心维持异地恋，却在出国当天收到女友的分手邮件，精神崩溃。几年后，他入职大企业，周围的人纷纷结婚，他却始终迈不出选择的那一步。某天，他与初恋意外重逢，心绪再次翻涌——但她如今已成为倡导激烈、主张鲜明的女权主义者。被过去与现实撕扯的男主角，将如何面对这段“变质的初恋”。 　　本剧改编自闵智炯的同名原著小说。

15年前一桩诱拐杀人案震惊全国，却始终未曾侦破。在该案公诉期即将结束时，女主角多恩（孙艺珍 饰）听到了犯人的声音，并联想到自己父亲（金甲洙 饰）……一个可怕的猜测令多恩陷入了混乱，她无法把这么残忍的事情和为自己付出了一切的父亲联系在一起，但为了揭开真相，她又不得不对父亲展开暗中调查……

一如往常的上学日，不寻常的意外改变了命运，在彼此相互隐瞒的秘密中，他们成为了“共犯”。独行侠黄立淮(巫建和饰)、坏学生叶一凯(郑开元饰)以及模范生林永群(邓育凯饰)，三位性格迥异且原本没有交集的同校高中少年，因缘际会下相识，联系他们的共同点，是一起在上学途中目击了女学生夏薇乔(姚爱寗饰)的意外死亡事件！为了探查夏薇乔的死因，他们三人组织了一个秘密结社，一同展开调查行动；结果，一场突如其来的意外，却永远改变了他们的命运与过往生活。因为要维系彼此之间的友谊，有人私自隐藏了秘密，有人被罪恶感纠缠，有人竟沦为全校公敌，三人的共犯结构逐渐开始崩裂。

黄立淮（巫建和 饰）是一个无论到哪里都独来独往的孤僻少年，叶一凯（郑开元 饰）是令老师和家长头疼的问题学生，林永群（邓育凯 饰）永远都是考试榜上的头号冠军，三个性格迥异，人生看似完全没有任何交集的孩子，因为在上学的路上共同目睹了女生夏薇乔（姚爱寗 饰）的死亡而产生了联结。 　　这场死亡时间彻底改变了他们三个人的命运，为了调查事件的真相，三人组成了一个秘密社团，然而，随着调查的深入，黑暗愈演愈烈，表面上平静如水的校园，实际上隐藏了诸多丑恶的秘密。一场意外的到来让三人再也回不去曾经天真无邪的时光。

文森特（塞瑞尔·戴思科斯 Cyril Descours 饰）和瑞贝卡（乔安娜·普莱斯 Joana Preiss 饰）是两个无忧无虑的年轻人，和众多的年轻人们一样，他们靠着网络打发闲暇时光，于是在一间嘈杂的网吧中，他们相遇了。很快，趣味相投的两人就追去了情网，恋情打得火热一发不 可收拾。 　　然而两个月过去了，出现在大众视野中的，是文森特腐败不堪的尸体和瑞贝卡失去踪影的消息。探长赫维带着他的手下卡列宁着手调查此案，随着种种线索浮出水面，赫维开始了解到这两个看似平凡的年轻人背后并不普通的生活状态。而这起死亡案件也让赫维开始反思起了自己的生活，他们究竟是从哪一步起开始走错的呢？

文森特（塞瑞尔·戴思科斯 Cyril Descours 饰）和瑞贝卡（乔安娜·普莱斯 Joana Preiss 饰）是两个无忧无虑的年轻人，和众多的年轻人们一样，他们靠着网络打发闲暇时光，于是在一间嘈杂的网吧中，他们相遇了。很快，趣味相投的两人就追去了情网，恋情打得火热一发不 可收拾。 　　然而两个月过去了，出现在大众视野中的，是文森特腐败不堪的尸体和瑞贝卡失去踪影的消息。探长赫维带着他的手下卡列宁着手调查此案，随着种种线索浮出水面，赫维开始了解到这两个看似平凡的年轻人背后并不普通的生活状态。而这起死亡案件也让赫维开始反思起了自己的生活，他们究竟是从哪一步起开始走错的呢？

「共犯」是一档狼人杀推理真人秀，考验玩家的逻辑推理和能言善辩的技巧。共犯每晚可以“杀害”一名玩家，而玩家每天可以通过投票淘汰怀疑对象，且玩家可以透过每晚的任务获得特殊职业。究竟玩家最终能否从共犯的杀害威胁中逃脱，还是共犯先铲除所有玩家呢？

「共犯」是一档狼人杀推理真人秀，考验玩家的逻辑推理和能言善辩的技巧。共犯每晚可以“杀害”一名玩家，而玩家每天可以通过投票淘汰怀疑对象，且玩家可以透过每晚的任务获得特殊职业。究竟玩家最终能否从共犯的杀害威胁中逃脱，还是共犯先铲除所有玩家呢？