Carol(王爱玲饰演)就职香港某银行海外投资基金高级职员，与程木胜(李南星饰演)在香港注册结婚后，特地返回商城摆喜酒。就在婚宴前几天，Carol和好友Rachel(宋怡霏饰演)相约见面，两人结伴去购物，没想到Rachel上完洗手间出来时，却发现Carol不见了，从此下落不明… 警方将这起失踪案交给CIB侦查组小组长严可欣(黄碧仁饰演)处理。

《临界二十天》以1945年7月27日凌晨起，到1945年8月15日午夜止，共20集，每集一天。这20天对当时的上海这座城市有着非常特殊的意义。8月15日午夜日本决定无条件投降，而8月16日汪伪“国民政府”遂告解散……本剧的核心故事以王峻如、宋南、刘振泉、章士诚等为一方的我党地下抗日战士与特务头目乔森、高平，特务骨干诸正等为一方的日伪特务机关作殊死斗争的情节主线……

《临界二十天》以1945年7月27日凌晨起，到1945年8月15日午夜止，共20集，每集一天。这20天对当时的上海这座城市有着非常特殊的意义。8月15日午夜日本决定无条件投降，而8月16日汪伪“国民政府”遂告解散……本剧的核心故事以王峻如、宋南、刘振泉、章士诚等为一方的我党地下抗日战士与特务头目乔森、高平，特务骨干诸正等为一方的日伪特务机关作殊死斗争的情节主线……

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.