Synopsis 　　One of the few partisan units left in Mt. Jiri after the signing of the Armistice, the unit led by a captain nicknamed "Agari" (meaning "mouth" in Korean) commits all manner of atrocities. Cheol-su(Kim Jin-kyu), who has started to grow disillusioned with the communist ideology, is troubled by the romantic feelings professed by an ideologically devout and cool-headed female comrade named Ae-ran (Lee Ye-chun). One day, another female partisan soldier named So-ju, who had been transferred to another unit, finds her way back to Piagol with a bullet wound in her shoulder. Man-su (Heo Jang-kang) rapes the injured So-ju, who dies under his assault. In order to cover up his crime, he murders his fellow soldiers, frames Dal-su for the rape, and kills him. Once the extermination of guerillas in Mt. Jiri begins, all the partisan soldiers face imminent death. Disgusted by partisan life, Ae-ran and Cheol-su discuss defection, but are discovered in the act by Agari. Cheol-su and Agari get into a fight, and Cheol-su is killed. In the end, Ae-ran kills Agari and descends the mountain alone. 　　Notes 　　"The first movie to be banned for violating the Anti-Communist Act, due to its humane portrayal of North Korean partisan soldiers." 　　Piagol, which served as the cinematic model for anti-communist humanism, depicts each of its characters, either in main or supporting roles, with vital detail. What makes Piagol at once unique and problematic as an anti-communist film is the fact that no South Korean soldier or police officer ever makes an appearance; it only features North Korean partisan soldiers. Unlike the guerilla fighters in newspapers and documentary films, who were portrayed as anonymous villains and cold-blooded killers, Piagolendowed partisan soldiers with distinctive personalities, and each unique character encounters human conflicts caused by his or her desires. The media and the government banned the film from being screened on the charge of violating the Anti-Communist Act, censuring its excessively "realistic" and human depiction of North Korean soldiers. (Critic Lee Young-il, author of The History of Korean Cinema [Hanguk yeonghwa jeonsa], cited this very fact as his basis for dubbing this film as an example of realistic anti-communist humanism and praising its artistic achievement.) Because the audience at the time held only vague ideas about the difference between dramatic films and documentary filmsi.e. between fiction and factand because anti-communism was deemed more than a simple ideology but a matter of survival, Piagol's realistic depictions might well have been considered threatening. 　　Indeed, one of the most prominent characters in the film, partisan leader Agari (Lee Ye-chun), is a good case in point. Although he is portrayed as a brutal villain throughout, a nightmare sequence conveyed through an intricate montage sequence endows him with internal conflict and feelings of guilt regarding his own cruelty and violence. Further, the expression of his obsessive devotion to ideology, which he is unable to abandon even at the end, elicits a measure of sympathy from the audience. Most of all, the character of Ae-ran (No Kyeong-hee), a capable and decisive female leader who shows rigorous dedication to the communist cause until the latter half of the movie, is represented in a considerably attractive light. Honest about her feelings and desires, and more capable than anyone else, Ae-ran exemplifies the image of an active woman even from our contemporary perspective. 　　Afterword: 　　- Piagol's initial screening license was revoked because of an anti-communist controversy, but the film received permission to re-screen thereafter. 　　- As shooting took place in Mt. Jiri soon after the Armistice was signed, when remnants of partisan bands were still hiding out on the mountain, the staff and cast testified to having actually felt a sense of danger during filming.

讲述了青年李宇轩离开北京回到老家安丘创业，将自家百年手艺的大饼，经过改良与各种安丘当地美食结合，做成时尚快捷美食“大饼卷一切“的励志故事。

讲述了青年李宇轩离开北京回到老家安丘创业，将自家百年手艺的大饼，经过改良与各种安丘当地美食结合，做成时尚快捷美食“大饼卷一切“的励志故事。

当意外穿越进剧本世界，成为被反派男主用完即弃、凌虐致死的女主角应该怎么办？宋小鱼想都不用想，当然是能跑多远跑多远啊。计划如此丰满，现实却无比骨感，一旦她试图改变剧情和男配成婚，就会自动跌入无限流循环卡bug中，经历一百零八种完全不带重复的死法。 所谓开局即“阵亡”。宋小鱼终于认清了现实，那就是无论她如何努力，“剧情”始终都会将她推往男主南珩身边，上演一个又一个剧本名场面……而在这个纸片世界里，亦有无数个早就被“设定”好的人物角色。有人被困深宫重院，有人囿于高门家宅，有人为雌竞所累，有人因权势奔走。有人渴望爱与自由，却只能戴着镣铐惶惶起舞，有人做着扶摇直上的大鹏之梦，却在日复一日的束缚与平庸中被消磨着激情。 这不仅是人怂怕死的躺平咸鱼宋小鱼和心狠手辣的夺命卷王南珩间的鏖战，更是每个“小我”纸片人与既定命运的战斗。

当意外穿越进剧本世界，成为被反派男主用完即弃、凌虐致死的女主角应该怎么办？宋小鱼想都不用想，当然是能跑多远跑多远啊。计划如此丰满，现实却无比骨感，一旦她试图改变剧情和男配成婚，就会自动跌入无限流循环卡bug中，经历一百零八种完全不带重复的死法。 所谓开局即“阵亡”。宋小鱼终于认清了现实，那就是无论她如何努力，“剧情”始终都会将她推往男主南珩身边，上演一个又一个剧本名场面……而在这个纸片世界里，亦有无数个早就被“设定”好的人物角色。有人被困深宫重院，有人囿于高门家宅，有人为雌竞所累，有人因权势奔走。有人渴望爱与自由，却只能戴着镣铐惶惶起舞，有人做着扶摇直上的大鹏之梦，却在日复一日的束缚与平庸中被消磨着激情。 这不仅是人怂怕死的躺平咸鱼宋小鱼和心狠手辣的夺命卷王南珩间的鏖战，更是每个“小我”纸片人与既定命运的战斗。

仙界，神仙与人类所居住的那个世界迎来了毁灭的危机。掌握改变世界关键的正是寻找着凶神・四凶的歌士一叶与其使役神滇红。两人隐瞒着各自的目的寻找着四凶。倍受束缚的家族与其失去的过去，为了取回重要之物，一叶与滇红将走遍世界。以长年广受阅读的高山忍的人气漫画为题材所改编，描写歌士一叶与其使役神滇红的战斗的奇幻动作片！倍受束缚的家族与其失去的过去。为了取回重要之物，歌士一叶与其使役神滇红的战斗即将展开！

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

描述一位上海女士經相睇後，嫁與一個香港商人，並隨夫來港後所面對的生活變化及她作出的適應。故事呈現了香港不同階層的面貌，以及人際間的感情，更反映出香港人對香港的歸屬感及重新認識，對本土文化更加以肯定。

一名女子（曾慶瑜飾）本身有有一名要好的男朋友（梁秉堅飾），卻處處覺得男朋友高攀不上自己，可是女子又怕寂寞，所以一直拖拉著。後來，男朋友放棄並和其他人結婚了，這時候女子才發現自己實在是愛這個前男友。偶然之下，兩人重遇，感情欲斷難斷，暗暗地把這兩人牽在一起。