一如既往，家庭大战再次爆发，老猫汤姆和老鼠杰瑞的追逐战将家里闹得天翻地覆。唯一不同的是，今天老狗在家睡觉，猫鼠大战搅扰了它的美梦。不堪其扰的老狗警告汤姆不准制造噪音，否则要它好看。胆小的汤姆点头应允，随后继续追逐。而此时战争发生了变化，汤姆追逐杰瑞的同时想尽办法不弄出声响，而杰瑞则故意制造噪音，打算吵醒老狗，让汤姆好看。老狗的介入让它们的追逐战变得紧张刺激而又妙趣横生…… 　　本片荣获1946年奥斯卡最佳动画短片奖。

賽巴斯，三十歲單身漢，有一隻八歲的愛犬相伴。只要他不在，狗狗就會頻頻哀鳴，引起鄰居抱怨，他只好帶著狗去上班，卻因此被公司開除，只能靠打零工度日，過著流浪犬般的人生。當神祕隕石撞擊地球，空氣被污染，離地一百二十公分以上的人，得要靠呼吸器才能行走。幸好賽巴斯早就超前部署，「魯」到沒在怕！他的魯蛇人生會因此而有所轉機嗎？ 　　阿根廷導演安娜卡茲繼2007年成名作品《分手假期》後，再次以精準的影像語言、絕妙的台詞設計，施展冷調黑色幽默，結合末日感軟科幻，在黑白的荒唐人生中提煉一絲安慰。長達三年的拍攝期，正好遇上全球疫情，導演靈機一動，巧妙將大環境變動嵌入這則描繪青年無力感的哀歌，意外讓本片成為一則饒富深意的末世寓言。

賽巴斯，三十歲單身漢，有一隻八歲的愛犬相伴。只要他不在，狗狗就會頻頻哀鳴，引起鄰居抱怨，他只好帶著狗去上班，卻因此被公司開除，只能靠打零工度日，過著流浪犬般的人生。當神祕隕石撞擊地球，空氣被污染，離地一百二十公分以上的人，得要靠呼吸器才能行走。幸好賽巴斯早就超前部署，「魯」到沒在怕！他的魯蛇人生會因此而有所轉機嗎？ 　　阿根廷導演安娜卡茲繼2007年成名作品《分手假期》後，再次以精準的影像語言、絕妙的台詞設計，施展冷調黑色幽默，結合末日感軟科幻，在黑白的荒唐人生中提煉一絲安慰。長達三年的拍攝期，正好遇上全球疫情，導演靈機一動，巧妙將大環境變動嵌入這則描繪青年無力感的哀歌，意外讓本片成為一則饒富深意的末世寓言。

不知名广告公司运营沈小棠过劳猝死，穿越成新婚夜被毒死的新娘沈疏梨，见丈夫与贴身丫鬟在面前通奸。她连夜逃命被镇边将军抓住，签契约婚书，却发现将军好大儿竟是那下毒的 “前夫”！

不知名广告公司运营沈小棠过劳猝死，穿越成新婚夜被毒死的新娘沈疏梨，见丈夫与贴身丫鬟在面前通奸。她连夜逃命被镇边将军抓住，签契约婚书，却发现将军好大儿竟是那下毒的 “前夫”！

A Whodunit from the great! The investigation into the suicide of a young woman found dead at the bottom of a cliff uncovers many lovers of both sexes, including her Brother's sister and her psychiatrist, a weird tale of absolute power and love.

Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... 　　 　　Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. 　　 　　Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. 　　 　　Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. 　　 　　Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

《乐俊凯》是匪我思存第一部被改编翻拍的短篇小说，故事中乐俊凯为报仇娶了仇人的女儿夜子，并在婚后百般折磨并将她逼走，然而他自己也无法再动情于别人。多年后再见，竟发现两人有一个孩子。原来当初夜子瞒着乐俊凯生下孩子并独自带大。在乐俊凯的软硬皆施和夜子的负偶顽抗中，令所有人大惊失色的真相也终于浮出水面。尽管乐俊凯从来不愿承认自己对夜子的爱，却还是在听闻她被幕后黑手绑架的消息时，全然忘我奋不顾身…… 乐俊凯用强硬凶狠的外表尘封了自己的内心，他知道自己爱夜子，所以才如此害怕，怕被看穿，于是用尽刑责，要让她死心，无奈自己的心越陷越深。正是这样一个极富层次的人物才让大家又爱又恨。而何润东却是以温柔儒雅的好男人形象备受观众喜爱，此次挑战心狠手辣、咄咄逼人的乐俊凯，他将如何塑造有别于以往的“坏男人”角色值得期待。 看似柔弱的夜子总是在默默承受，独自背负，这也正好展现了她骨子的倔强和韧劲。她爱乐俊凯，尽管一再被他折磨也还是爱他。她想从那个“恶魔”的手掌心逃脱，真正的理由却是不希望“恶魔”因为看到自己而伤心。夜子这个角色像是为张钧甯量身打造，纤细柔弱的外形，正直爽朗的个性，张钧甯的骨子里也有和夜子一样的坚韧和勇敢。