首部台球主题巨制《斯诺克》正式启动，此次将娱乐与体育进行了融合。活动当天，电影《斯诺克》的启动成为全场焦点，导演车径行、编剧李彬、制片人王霞、童家尧，以及天佑（北京）文化传媒有限公司集团董事长侯羽、投资机构代表杨之一共同见证了这一重要时刻。《斯诺克》是国内首部台球主题电影，苏菲·玛索、金泰熙、曾志伟、陈国坤、张译等都在拟邀主演名单中，尽管影片尚未开拍，但其大片气质已初现端倪。

首部台球主题巨制《斯诺克》启动 娱乐体育相融合 当天现场最受关注的莫过于电影《斯诺克》的启动，该片导演车径行、编剧李彬、制片人王霞、童家尧、天佑（北京）文化传媒有限公司集团董事长侯羽、投资机构代表杨之一共同见证了这一时刻。《斯诺克》为国内首部台球主题电影。苏菲.玛索、金泰熙、曾志伟、陈国坤、张译等均拟邀主演中，虽未开拍但大片实力已隐约可见。

《2024斯诺克时尚之夜》不信极限，创造多面，全民文体晚会直播，打造一场时尚与斯诺克运动的狂欢晚会。

"Futurism" was an avant-garde artistic movement, created in 1909 ( as you can see your grandfathers were long haired and dangerous youngsters for a while ) that demands a rejection of tradition and the past while exalting technical innovations, especially the mechanical ones, present and future. This avant-garde artistic movement ( literature and music genres) found great acceptance in Italy where many artists developed the Futurism postulates. 　　Herr Anton Giulio Bragaglia was a notable Italian Futurist who began experimenting with photography and published an important manifesto as a theoretical basis for Futurist photography, "Fotodinamismo Futurista". In addition to his career as set designer Herr Bragaglia had a short but intense film career, "Thais" being his debut as a Futurist director. 　　In any case "Thais" is a film that combines in a strange way classicism and the ( Futurist ) modernism, a paradox since we know that the Futurists were people who rejected tradition and the"Thais" story is a very conventional one. It tells of a "femme fatale" who toys with and uses her admirers for her capricious purposes with the expected tragic ending. Classicism can be seen too in the beautiful images from evocative landscapes sequences as the ferry at the river or Bianca's race to the abyss ( "Naturalism" reminiscences?... ) or Herr Charles Baudelaire's poems ( "Impressionism" reminiscences? ) Only at the end of the film do we see the "Futurist" influences in the highly stylized and geometrical décors in which our heroine suffers her particular punishment, a sequence in which Herr Bragaglia's talent as a set designer is put to good effect. 　　For those reasons for this German Count "Thais" is a kind of interesting film catalogue of many artistic movements ( curious artistic duality ) strangely mixed, a display of the spirit of those innovative early years that grants the film an artistic and remarkable balance as a whole.

"Futurism" was an avant-garde artistic movement, created in 1909 ( as you can see your grandfathers were long haired and dangerous youngsters for a while ) that demands a rejection of tradition and the past while exalting technical innovations, especially the mechanical ones, present and future. This avant-garde artistic movement ( literature and music genres) found great acceptance in Italy where many artists developed the Futurism postulates. 　　Herr Anton Giulio Bragaglia was a notable Italian Futurist who began experimenting with photography and published an important manifesto as a theoretical basis for Futurist photography, "Fotodinamismo Futurista". In addition to his career as set designer Herr Bragaglia had a short but intense film career, "Thais" being his debut as a Futurist director. 　　In any case "Thais" is a film that combines in a strange way classicism and the ( Futurist ) modernism, a paradox since we know that the Futurists were people who rejected tradition and the"Thais" story is a very conventional one. It tells of a "femme fatale" who toys with and uses her admirers for her capricious purposes with the expected tragic ending. Classicism can be seen too in the beautiful images from evocative landscapes sequences as the ferry at the river or Bianca's race to the abyss ( "Naturalism" reminiscences?... ) or Herr Charles Baudelaire's poems ( "Impressionism" reminiscences? ) Only at the end of the film do we see the "Futurist" influences in the highly stylized and geometrical décors in which our heroine suffers her particular punishment, a sequence in which Herr Bragaglia's talent as a set designer is put to good effect. 　　For those reasons for this German Count "Thais" is a kind of interesting film catalogue of many artistic movements ( curious artistic duality ) strangely mixed, a display of the spirit of those innovative early years that grants the film an artistic and remarkable balance as a whole.

斯诺登2004年应征入伍、后被派遣到伊拉克战场，因不幸在训练时双腿受伤，斯诺登退役回国后应聘加入中情局。之后，他又进入国安局工作，并意外发现政府在“9·11”事件后对公民电话和社交网络实施大规模监控计划，于是泄露了大量机密文件。事发后，斯诺登遭当局通缉，便逃到香港。此后，他几经辗转逃至俄罗斯寻求庇护。

电影导演劳拉-佩特雷和记者格伦-格林沃尔德准备去见这几年来都生活在政治庇护下的斯诺登（约瑟夫-高登-莱维特 饰演），劳拉想要为他拍摄一部纪录片。一切…

柯诺克（奥马·希 Omar Sy 饰）曾是个骗子，但后来决定改邪归正成为一名医生。他搬到了阿尔卑斯山附近的一个富裕山庄，接手了一位退休医师的诊所。柯诺克希望在这里赚大钱，然而当地居民个个都身强体壮，没有什么疾病。 　　面对这个问题，柯诺克运用他诚恳的笑容和巧舌如簧的口才，开始渲染各种疾病的存在，让没有病痛的村民们开始相信自己生了大病。他不断嘱咐他们要定期回诊。很快，诊所就挤满了各种症状的病人。柯诺克因此成为山庄里备受瞩目的新好医生。在赚得盆满钵满的同时，他也邂逅了一个美丽的农场女子，事业和爱情都顺利发展着。然而，这引起了村庄的神父的嫉妒。神父愤怒地看着他的教徒都挤在诊所外，而不是去他的教堂。