海味店少东刘家辉私运反清物料，惨被抄家，仓惶逃到少林寺，潜心学武，为家人报仇。经过寺内三十五房各种奇特甚至近乎自虐式的训练，终于武学有成，取法号三德和尚，下山后，联合舂米六等市井好汉继续与清廷鹰犬对抗。最后报仇成功，并为少林寺创立第三十六房，永留佳话。

本片为刘家班的少林武打经典之作，亦是1978年香港十大卖座电影，而同年更获亚洲影展最佳动作片奖。由刘家良师父执导，少林片系列代言人刘家辉演出，合演的还有七十年代邵氏功夫明星，刘家荣、罗烈、汪禹、徐少强、袁小田及于洋等。刘家良导演坚持李小龙提倡电影发挥真实搏击风格，再加入传统国术的扎实功夫，强烈表现出华南武术文化传统。这不仅稳固其导演地位，更成一众武术指导争相仿效的对象。

人的一生中，你也许只有一次机会能达到人生的顶峰，但如果这唯一的一次机会从你手边溜走后，一切都结束了。这样的说法真的正确吗？或许你还能争取到第二…

沐长宁因判词被父母虐待弃养，幸得师父收养并习得医道。后家中为避嫡妹沐小婉替七皇子挡煞的婚事，逼她代嫁，她欣然应下并让全家吃瘪。却遭沐小婉算计中迷香，出逃寒潭解毒时，与潭底戴面具男子发生关系。她暗喜传闻中七皇子无法圆房，可新婚夜竟发现夫君七皇子与寒潭男子极为相似。

回到李小龙时代，真刀真枪的耍功夫。在好莱坞享有盛誉的袁祥仁率领袁家班众弟兄设计了一场场精彩的武打场面，完全靠真功夫，彻底抛弃电脑特技。两个真实的历史人物，一段虚构的爱情故事，让袁咏仪、吴京替古人跨越时空谈上一场刻骨铭心的恋爱。宫延、江湖、少林寺，复仇、红尘、未了缘，一场剪不断、理还乱的乱世儿女情由此展开……nbsp;故事开始于圆明园。深夜，一宫女在一太医掩护下，偷袭了雍正的寝宫……nbsp;雍正暴死，人头丢了。下葬时用一颗金头代替。乾隆继位，立即多方秘密追查刺杀雍正之人。几番搜查之后，雍正时期文字狱的最大...

回到李小龙时代，真刀真枪的耍功夫。在好莱坞享有盛誉的袁祥仁率领袁家班众弟兄设计了一场场精彩的武打场面，完全靠真功夫，彻底抛弃电脑特技。两个真实的历史人物，一段虚构的爱情故事，让袁咏仪、吴京替古人跨越时空谈上一场刻骨铭心的恋爱。宫延、江湖、少林寺，复仇、红尘、未了缘，一场剪不断、理还乱的乱世儿女情由此展开……nbsp;故事开始于圆明园。深夜，一宫女在一太医掩护下，偷袭了雍正的寝宫……nbsp;雍正暴死，人头丢了。下葬时用一颗金头代替。乾隆继位，立即多方秘密追查刺杀雍正之人。几番搜查之后，雍正时期文字狱的最大...

本剧讲述了狐族圣女锦瑟与冷面将军顾云深相知相恋，打破世俗界限终成眷属的美好爱情故事。两人少年相识相知，却因为误会分开。后来锦瑟为了保护狐族执行任务潜入皇宫进行复仇计划时，却再一次遇见顾云深……

该剧改编自同名小说《三千鸦杀》，讲述燕国最小的公主燕燕（蒋依依 饰）在一夜大火后，父母家国双亡。为获得复国之器灵灯，她改变容貌，改名覃川（赵露思…

该剧主要讲述了骊国公主燕燕（蒋依依饰）在国破家亡之后，改头换面来到香取山，以覃川（赵露思饰）之名找寻上古灵灯，誓要解救天下百姓。而早在她不知道的时候，上仙傅九云（郑业成饰）已守候了她千年，更将为她的理想舍身成全。

One of those courageously provoking and smashing films that make you breathless, restless and uncomfortable. This unique, wise and rough blend of cinema, theatre, musical and comedy will radically divide spectators and critics for their differing opinions. A political, cruel and original film spiced with dark humour, which makes an urgently needed and impactful statement against injustice, prejudice, discrimination and racism against the Roma people, the biggest European minority. 　　Everything you see is part of the play “Gypsy Hungarian” performed at Deutsches Theater Berlin. An all-Roma creative team worked together for six years, backed by the Open Society Foundation, to educate marginalised Roma youth through performance art training. The leading characters never hide their true names as they talk, shout, joke, lie, debate, or doubt directly to our faces without a fourth wall. Gypsy boys and girls interpret, sing, dance, satirise their own painful life stories, recurring traumas or unfortunately real experiences with scars on their hands. 　　Musician and traffic warden Edmond rushes to clear his name, although he never had sex with his sisters. Drug dealer Mario is a wannabe poet. Professional dancer Romeo is laughed at by the audience and suffers domestic violence. The first Gypsy palaeontologist Cristopher tries to become temporarily rich through brutality. Szintia encounters a shady guy who threatens to sell her to Romania as a whore. They are demoralised, exploited, ridiculed, criminalised and disgusting, but they are also people like us. This film is not seeking the audience’s compassion. 　　The camera moves, spins, rides, slides, turns, lurks, and pans down with intentions to fool us that it may be a one long continuous shot with a fruitful and unparalleled supporting cameo role by former Berlin’s Panorama Big Boss Wieland Speck and a real Gypsy house, magnificently delivered to the stage in 3,000 numbered pieces, full of smoke and filth. 　　Ádám Császi received an unofficial five-year ban on filmmaking for his debut “Land of Storms” in Panorama at Berlinale 2014 (probably the first Hungarian gay coming-out film ever made). He continues to bravely oppose the systemic authoritarian Orbán-regime, which may possibly bring him another punishment.