法律面前，公平与正义是否真的存在？至少高级律师笠原卓也（伊藤英明 饰）对此持否定态度，他同时为多家大型企业担任法律顾问，为了官司的胜利翻云覆雨，不择手段，一次又一次谱写名律师的传奇时，也在业内得到极差的风评。然而往往是这种罔顾正义的讼棍，最容易受到上层人物的青睐。对连续强奸杀人案的翻转，令笠原走入日京金融控股公司名誉会长羽根田健三（仲代达矢 饰）的视线。气势如虹的笠原，在日京旗下航空公司引发的坠落事故官司中，和笃信正义的平民律师楠之濑正志（泷藤贤一 饰）展开连番对决。而在此期间，与黑道有染的童年好友松本省吾（渋川清彦 饰）遭人杀害，警方不觉对这个光鲜出众的名律师产生怀疑。 　　命运的齿轮开始转动，走向深渊最黑暗处的笠原，其不为人知的过去也慢慢显露出来

法律面前，公平与正义是否真的存在？至少高级律师笠原卓也（伊藤英明 饰）对此持否定态度，他同时为多家大型企业担任法律顾问，为了官司的胜利翻云覆雨，不择手段，一次又一次谱写名律师的传奇时，也在业内得到极差的风评。然而往往是这种罔顾正义的讼棍，最容易受到上层人物的青睐。对连续强奸杀人案的翻转，令笠原走入日京金融控股公司名誉会长羽根田健三（仲代达矢 饰）的视线。气势如虹的笠原，在日京旗下航空公司引发的坠落事故官司中，和笃信正义的平民律师楠之濑正志（泷藤贤一 饰）展开连番对决。而在此期间，与黑道有染的童年好友松本省吾（渋川清彦 饰）遭人杀害，警方不觉对这个光鲜出众的名律师产生怀疑。 　　命运的齿轮开始转动，走向深渊最黑暗处的笠原，其不为人知的过去也慢慢显露出来……

一个年轻的母亲Cora Tanner（Jessica Biel饰）在公众犯下一件令人吃惊的暴力行为，但无人知道她的动机。而一位流氓似的调查员对她的动机陷入执着，在他的…

比尔·普尔曼继续饰演警探Harry Ambrose，他回到了纽约郊区的家乡，对一桩令人不安的、令人痛心的犯罪事件进行调查——一个11岁男孩杀死了他的父母，没有…

USA Network续订《罪人》第三季，马特·波莫主演该季！比尔·普尔曼回归出演，普尔曼将继续饰演警探哈里·安布罗斯。他调查一起车祸案件，在调查过程中，…

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

In The Child of Another (Muna Moto), Cameroonian tradition faces the onslaught of materialism, where dowry and bloodline become the sole remnants of family values. The story centers on Mbongo, a man with four wives yet no children. When Mbongo learns of his impoverished stepson's marital intentions, he sees an opportunity to capitalize. This leading melodrama follows the young lovers Ngando and Ndomé and unfolds with a blend of tenderness and humor. The camera intimately explores the dark interiors of rural huts, meanders along the jungle's narrow paths, and partakes in lively street processions, inviting viewers into the characters' world. However, the film boldly critiques social norms, particularly the oppression of women striving for autonomy in a rigid societal framework. The storytelling reveals the narrative in reverse, as a drumbeat at a ceremony triggers a cascade of memories. The film also resonates personally for the director, who was adopted by his mother's second husband. He reflects, It is related to my childhood, existence, and life experience. I am a muna moto myself. Dikongué-Pipa's commitment to this project spanned eight years, and during filming, he resorted to fishing and hunting to sustain the unpaid crew.