过去三个月, 16 岁的Mila一直都待在青少年精神病院。众人都认为她跑入车流中是为了自杀, 但Mila知道这是胡扯。她只是被这个危机四伏的世界搞得一团糟——学校里的帅哥把她和他的性爱视频发给了全校同学。现在她回来了, 一切都不同了——但依旧跟以前一样糟。Mila迅速陷入了一段三角恋。她只想和Ali在一起, 那个她在诊所里暗恋的女生, 但Ali却消失得无影无踪。Mila遇到了和她一样被生活搞得焦头烂额的年轻演员Jannis。和他一起, Mila可能会陷入毒品与暴力的漩涡......

Monty Python's Fliegender Zirkus consisted of two 45-minute Monty Python specials produced by WDR for West German television in 1971 and 1972. The two episodes were first broadcast in January and December 1972, respectively. They were shot entirely on film, mainly on location in Bavaria and in the German language, although the second episode was originally recorded in English and then dubbed into German. According to the Python's autobiography The Pythons, this was due to the fact that only John Cleese and Michael Palin could be easily understood by the German audience during the first episode. The other Python performers all had very thick accents (particularly Terry Jones), making them difficult to understand. According to the book in some cases the episode was even broadcast with German subtitles. Some of the material was reworked from At Last the 1948 Show. Footage from these specials was used to fill time between live stage performances. At one point the team considered editing the two shows together, dubbing them completely into English and releasing them as a 90-minute film, but it never came about.

Monty Python's Fliegender Zirkus consisted of two 45-minute Monty Python specials produced by WDR for West German television in 1971 and 1972. The two episodes were first broadcast in January and December 1972, respectively. They were shot entirely on film, mainly on location in Bavaria and in the German language, although the second episode was originally recorded in English and then dubbed into German. According to the Python's autobiography The Pythons, this was due to the fact that only John Cleese and Michael Palin could be easily understood by the German audience during the first episode. The other Python performers all had very thick accents (particularly Terry Jones), making them difficult to understand. According to the book in some cases the episode was even broadcast with German subtitles. Some of the material was reworked from At Last the 1948 Show. Footage from these specials was used to fill time between live stage performances. At one point the team considered editing the two shows together, dubbing them completely into English and releasing them as a 90-minute film, but it never came about.

《中国文学盛典·鲁迅文学奖之夜》以第八届鲁迅文学奖颁奖仪式作为主体内容，进行报告文学、诗歌、散文杂文、文学翻译、文学理论评论、短篇小说、中篇小说等七轮颁奖，以歌曲、舞蹈、朗诵等多种文艺形式，引领观众回顾中国文学这十年，歌颂到人民中去、与人民同行的伟大作家，展现党的十八大召开以来，全民昂扬积极的精神面貌和迎接更美好未来的奋勇态势。

第十二届全国优秀儿童文学奖的颁奖盛典，文坛大咖刘慈欣、刘震云、陈彦、阿来齐聚湖南长沙，“儿童文学巨匠”金波、曹文轩、汤素兰、蔡皋惊喜现身，共襄儿童文学盛举。何炅领衔主持，维嘉、吴昕重聚变装儿时经典角色，上演经典回忆杀！

故事的主人公高中二年级的平凡男生井上心叶，因为过 去的阴影，对人抱着冷谈的态度。然而，因为某个契机，井上心叶知道了文学少女天野远子的秘密。得知秘密的他被远子以文艺部部长的身份强制要求加入社团，并且每天被逼着写三题故事。心叶被天真浪漫的远子搞的团团转，虽然对她“这是事件哦”的台词相当头疼，心叶依旧每次帮助她解决事件。在这过程中，两人结识了竹田千爱、樱井流人、姫仓麻贵、琴吹七濑等人。心叶的心房也渐渐打开，就要走出过去的阴影时，却遇到了某个少女。然后当心叶的故事迷题解开，从过去中解放出来之时，心叶却背叛了远子，而远子也背叛了他。千爱、流人、一诗、七濑、麻贵，还有心叶……。当他们的故事因为温柔善良的文学少女告一段落时，属于文学少女的故事开始撰写，而伴随着文学少女的故事，心叶等人的运命，再次开始轮转……

1946年的法兰克福，一群逃过纳粹大屠杀的犹太幸存者，梦想到美国重新展开生活。能言善道的大卫为此召集友人，准备趁此艰难时期，一展自己三寸不烂之舌的推销才华，狠狠海削德国人一笔。眼看资金即将筹足，光明未来也就在不远处，大卫却被怀疑是纳粹帮凶而被召去问讯调查，他把过去说得天花乱坠、天衣无缝，但一切究竟是为了摆脱嫌疑，还是掩饰阴影？ 　　德国名导山姆贾巴尔斯基继《洞里春光》后，又一部荒谬讽刺的社会喜剧。影片改编自德瑞小说家Michel Bergmann的作品，角色灵感源自作者亲友的亲身经历，深入刻划二战主题中鲜少被讨论的一群人──大屠杀过后仍居住在德国的犹太人们。面对战后人事全非的创伤，不悲情控诉，而豁达自嘲地以荒诞的德式幽默，回应难以被述说的辛酸历史。如果生活让人无法忍受，那么就用轻盈的谎言点缀它。

朱丽安是姐姐，在女性杂志社工作，平常为妇女权益呐喊；妹妹玛丽安却是个激进的恐怖分子，在被捕后愤然上吊自杀。但这对姐妹在小时候的性格完全相反，一个叛逆，一个温顺，成年后两姐妹的路途却南辕北辙，朱丽安还对妹妹一直抱有成见，两姐妹关系对立冷漠，直到妹妹的去世，才引发姐姐对妹妹生活真相的追查。 　　幕后制作： 　　德国女导演特洛塔的女性主义电影，借助一对德国姐妹的不同命运，来揭示德国社会的政治现实和历史关系，风格压抑沉重。导演以小喻大，利用姐妹的个人对立来影射整个德国历史和现实的格格不入造成的隔阂感，色调阴沉，多特写镜头，带有浓厚的女权意识。两姐妹的少女生活片段里含有引射东西德的政治寓意，较为晦涩难明。

1977年，一个商人被绑架后又被谋杀，杀他的是左翼的称为RAF的恐怖分子Armee Fraktion（红色帮派），他们绑架商人是为了试图以交换他们被抓的领导人。当诱拐的努力和一次劫持飞机相继努力失败后，RAF的3位非常杰出的领导人，安德烈亚斯巴德，古德兰·恩斯林和吉恩·卡尔泪谱，全部在监狱自杀。这3人实际上是被政府授命谋杀的。

Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract need for guidance of Germany following the fall of the Berlin Wall.