律师城户章良（妻夫木聪 饰）收到来自谷口里枝（安藤樱 饰）女士的委托，她的丈夫“谷口大祐”（洼田正孝 饰）在伐木现场遭遇意外丧命，而常年疏于联系的大祐的哥哥恭一在看到遗像后却说，这不是大祐，而是另一个人。里枝只能委托多年前帮她办理离婚的律师城户帮助调查，这个现实生活中的“谷口大祐”究竟是谁呢？

根据平野启一郎小说《某个男人》改编的同名电影正式官宣，由妻夫木聪、安藤樱、洼田正孝等出演，预计2022年在日本上映。故事主人公是律师城户章良，他…

'En algún sitio' tells the story of Christian and Antonio. Best friends since their childhood, at age 18, a lie split their paths apart. 　　这篇电影讲述了一个关于Christian和Antonio的故事。他们是从小到大的好朋友，在十八岁的时候，一个谎言让他们分开。

'En algún sitio' tells the story of Christian and Antonio. Best friends since their childhood, at age 18, a lie split their paths apart. 　　这篇电影讲述了一个关于Christian和Antonio的故事。他们是从小到大的好朋友，在十八岁的时候，一个谎言让他们分开。

宋七月从国外归来意外开始了艰难的民宿经营之路。在这个过程中，她结识了顾词安等一群伙伴，在伙伴们的帮助下逐渐找到了适合民宿的经营方向，不仅成功地让民宿扭亏为盈，还收获了珍贵的友谊和爱情。

宋七月携蛋糕赴男友董哲的 “七月小屋” 庆生，却撞见其与孟恬拥吻，惊觉两人均被欺骗。盛怒下她联合孟恬对峙，决心夺回民宿。顾氏集团总裁顾词安发现民宿在改造名单中，前往处理时偶遇搬离家具的宋七月，主动搭手相助，两人初次线下交集。

高中生张扬（张晓林 饰）经历了父亲入狱和母亲抛弃，导致他的性格叛逆，渴望混日子。他惯于打架、抽烟和欺负同学，直到他遇到了与他敢于反抗却又关心他的同桌徐晓菲（蒋蕊泽 饰）。由于生活的压力，张扬对校长和老师的规劝置之不理。他年纪轻轻却不择手段地赚钱，但心地善良且学业优秀的徐晓菲毫不畏惧地责备和规劝他。即使当张扬受到惩罚并被周围所有人边缘化、产生邪恶的念头想要伤人时，徐晓菲仍舍命相劝，最终完全改变了张扬的思想。 　　张扬辍学后踏踏实实地从建筑小工做起，并最终建立了自己的建筑公司。多年后，与当年的同桌徐晓菲再次相遇，他心中的初恋依然存在。他用自己的杰出成就为当年的救赎画上了完美的结局。他以长久的热情，为初恋谱写了美好的结局。

明治三十年代のはじめ、早月葉子は母親佐の反対を押しきって当時文名のあがった新聞記者木部孤きょうと結婚した。葉子にとって、これは幸福を求めてのやむをえぬ母への反逆だったが、結婚後の木部の女々しい生活態度は彼女を失望させた。すでに妊娠していた葉子だったが、彼女は孤きょうに離婚を宣言し、鎌倉の住居を去って日本橋釘店の実家へ一応帰った。思いきった葉子の行動に母親佐は興奮のあまり卒倒し、そのまま床につく身となった。病中、親佐と葉子は漸く真に理解しあうようになったがそれも束の間、親佐は帰らぬ人となった。親戚一同は、母の遺言と称して葉子をアメリカにいる木村と結婚させることにきめた。里子に出している定子や妹愛子と別れ、葉子は絵島丸に乗船してアメリカに向った。航海中、葉子は絵島丸の事務長倉地三吉の男性的な魅力にはげしく惹かれ、アメリカに着いたとき、病気と偽って、迎えにきた木村ともちょっと会ったきりで上陸せずに日本に戻り、倉地と同棲生活を営んだ。この出来ごとはスキャンダルとして新聞に報道され、倉地は会社から馘首されて、金を得るために秘密の仕事をしていた。妹愛子を引取って生活するようになったころ、葉子は次第に健康を害し、同時にヒステリー症がつよくなってことごとに倉地や愛子にあたった。一方倉地は機密海図を外国人に売っていたのを当局に探知され、姿をくらましてしまった。葉子の病状はいよいよ悪化して入院することになり、手術のかいもなく、幸福を求めて苦しみつづけた一人の女葉子は、ついに苦悩のうちに死んで行った。

来自卓塔利亚的多朵夫•罗多尔，一个孤独的旅行者，他骑着长腿猪四处游走，漫无目的，不知前往何方。孤独沉默之人，日记是最好的倾诉对象。他的笔尖记录下旅途中的见闻轶事，充满了超现实的瑰丽、梦幻、神秘的色彩。有时，他渴望在山丘上的城堡落脚，可山丘却变成巨大的青蛙蹒跚而去；有时他坐在午夜的咖啡厅内，浓郁的咖啡杯中竟跃出一条鱼；有时，一头巨熊充当幕布为孩子们放送电影，播洒欢乐；有时，他又看到修长的兔男乘坐电车，飞向月亮所在的夜空。 　　如梦如幻的旅途，没有终点……

Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. 　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. 　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. 　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.