The movies Claude Chabrol made in the first ten years of his career are vastly underrated nowadays with the film under review being, arguably, the most obscure of the lot; admittedly, LES GODELUREAUX – an unwieldy single-word title if ever there was one (literally meaning "the popinjays") – could not have endeared it much to audiences. Consequently, it seems rather hard now to believe that Chabrol's more renowned colleague at the "Cahiers Du Cinema", Jean-Luc Godard, once named it among "The Top Six French Films made since the Liberation"(!) alongside Robert Bresson's PICKPOCKET, Jean Cocteau's LE TESTAMENT D'ORPHEE' and Jean Renoir's LE TESTAMENT DU DOCTEUR CORDELIER (all 1959)!! 　　Thematically, the film is basically Bresson/Cocteau's masterful LES DAMES DU BOIS DE BOULOGNE (1945) reworked for the "New Wave" set – though the revenge this time around is triggered by a petty incident between strangers, making the whole scheme an even more cynical one. Apart from the director himself, the film also finds some choice performers at somewhere near their best, notably the two leads: Jean-Claude Brialy (genuinely Mephistophelean, he displays a remarkable flair for melodrama throughout) and an entrancing Bernadette Lafont (peerlessly epitomizing earthy sensuality) – though some, like the reviewer of the "Films De France" website, actually felt their characters to be caricatures! Equally imperative to the success of the film is Jean Rabier's glossy black-and-white camera-work, a typically fine score by Pierre Jansen and also a clever use of overlapping sound (actually one of the revolutionary cinematic techniques characteristic of the French "Nouvelle Vague" movement). 　　The plot – oozing with the hedonistic/nihilistic outlook of Chabrol's regular scribe Paul Gegauff – sees the seemingly bisexual bourgeois fop Brialy sending out coquettish seductress Lafont to attract the attention of a young man (well-played by virtual unknown and future director Charles Belmont) who had spited him at the very start of the film. Subsequently, the newly-minted trio becomes virtually inseparable ensuring an invasion of the latter's domestic life (which embarrasses him no end, since he is still in the custody of a strict and wealthy uncle) – as much as they force him into their own private chaos (which involves not only an omnipresent homosexual valet by Brialy's side but a nerdy soon-to-be-wed cousin whom Lafont has no qualms about seducing in front of her current boyfriend, Belmont)! 　　Although at one point a ménage-a'-trois between the three leads is implied, some of their shenanigans are fairly harmless – such as disrupting an art exhibition with the dissemination of sneezing powder, or an upper-class soiree' by incorporating into the program both a sultry dance (performed by none other than a dark-haired Stephane Audran!) and an eccentric ditty sung by a pathetic ex-vaudevillian lady. However, the bacchanal in the style of Ancient Rome, togas and all – held at Belmont's house, having charged Lafont with its upkeep while he is away on business (in the same vein, Luis Bunuel's contemporaneous VIRIDIANA [1961], would feature a famously blasphemous parody of Da Vinci's "The Last Supper") – has more severe repercussions; this sequence is cleverly, and amusingly, cross-cut by Chabrol with the most formal of restaurant dinners being consumed by the oblivious Belmont and his uncle! 　　Eventually, the schemer feels vindicated and confesses to having taken the young man 'for a ride' and that Lafont (whom the boy had genuinely fallen for and was even planning to marry) had been his tormentor's mistress all along. However, in keeping with the film's darkly humorous tone (boasting a couple of bona-fide howlers along the way), the coda shows that, though obviously broken-hearted at first, Belmont has picked himself up by the time we next see him a year later and is consoling himself with a plain-looking girl; in fact, running by chance into Lafont on a pier, it is rather the latter who is unable to mature – being seemingly involved in yet another romantic scam (with a high-ranking Naval officer, no less)…

90年代初期，流落在我国西南边境外莽林中的国民党312师，因为不是蒋介石的嫡系部队，被台湾当局抛弃。师长关德海将队伍全部拉进深山老林，在热带原始森林里安营扎寨。军需副官林效祖因泄露了312师驻地的情报又私带毒品逃走被处以极刑。下级军官李文心也因逃跑被发配到"大炮王"的班里当兵。这时，台湾当局宣称东南亚的撤兵已结束，以后概不承认该地区冒用国民党番号的部队。师长关德海向部队宣布312师已不复存在，对外改称"难民村"，自谋生路。从此，312师的士兵们终日站在密林里伐树开荒。一天，精通英文的李文心被师长叫到地窖里，见到了美国《时代周刊》的记者乔治·斯坦纳，他是因为听说关德海驻扎此地是为了玉石和毒品生意，特前来采访。关德海大怒，下令没收了他的照相机。有家难归，有国难投的生活，使312师的下级官兵们极度苦闷。李文心忍无可忍，又一次逃跑。然而，刚出虎口，又入狼窝，被另一伙国民党残兵押进了"逃兵村"。李文心吃惊地看到在这里偷生的人竟是自己的同乡。同乡王老栓把一只一直挂在身边、刻有"洛阳·王富喜"的酒葫芦交给李文心，并帮助他逃出了狼窝。不想，李文心半路上又被一支匪马帮俘虏，作为交换人质重被押回"难民村"。关德海命他做自己的独生女关爱娇的英语老师。一天晚上，李文心无意中看到从事毒品生产的士兵和一包包的"海洛因"，他恍然大悟。一天，关德海让斯坦纳前来参观烧荒，想利用他做部队进行正常生产的宣传。李文心用英语将真相告诉了斯坦纳，并把自己整理好的材料交给了他。借着火势的掩护，斯坦纳和李文心分头逃离了"难民村"。在"大炮王"等正直官兵的拼死掩护下，李文心历尽艰辛，终于来到了祖国边境的界碑前……

顾曼卿因受不了丈夫沈隽长期的控制，不惜假死逃脱。后又遇到整容医生温亦淮，顾曼卿恳求温亦淮替自己换脸，温亦淮应允，并让顾曼卿假扮成自己的亡妻，没想到被沈隽发现了端倪，三人开始了一场惊心动魄的追逃游戏。

沈悦误以为自己患上癌症，生命的最后时光里，大胆地将深爱七年的男人陆彦川绑架了。陆彦川，出身豪门的继承人，性格内敛，冷峻的外表下隐藏着不为人知的温柔。在七天的时光里沈悦与陆彦川激情四溢，爱至巅峰，她以画笔为媒，为陆彦川绘制了一幅生动的艺术肖像，画中的他深邃而迷人。然而，七天后，沈悦如同幽灵般消失无踪，留给陆彦川的，只有遗憾和深深的困惑。七年后，陆彦川携未婚妻李依依在画廊中挑选艺术品。当他目睹了当初沈悦为他创作的肖像时，心中涌动的情感让他毫不犹豫地高价购得这幅画作。他沿着画廊提供的画家线索，找到了化名火花的沈悦。

秦朗被指责为忘恩负义，对方质问他为何不爱自己的母亲，并怀疑母亲的事故与他有关。秦朗否认了这些指控，情绪激动地强调母亲一直供养他、支持他出国。对方坚持认为秦朗是凶手，并威胁要刮花他的脸，让他没脸见人。秦朗反驳说，若真想加害，早就动手了，不必等到现在。对方还提到秦朗与沈家大小姐关系亲密，怀疑他想攀附沈家，秦朗再次否认，称自己与婉玉是清白的。随后，两人争吵升级，对方称秦朗配不上许家赋予的一切，而秦朗则愤怒地表示对方的钢琴学费是他出资的，并威胁说会让对方在监狱里生不如死。

前世被吃绝户，重生后黎北念当众撕开未婚夫的伪善面具，反手勾搭上穆家最疯的狼崽子，合作吗，穆二少？没曾想被反客为主，他说，合作？我要当你的狗！从此所有人都知道，高高在上的莫家继承人，只为她俯首称臣。改编自IP《重生成反派心头血》，作者万里里。

前世被吃绝户，重生后黎北念当众撕开未婚夫的伪善面具，反手勾搭上穆家最疯的狼崽子，合作吗，穆二少？没曾想被反客为主，他说，合作？我要当你的狗！从此所有人都知道，高高在上的莫家继承人，只为她俯首称臣。改编自IP《重生成反派心头血》，作者万里里。

为完成约定，林朝夕蓄意接近校园男神傅凌舟。高岭之花难以摘下，林朝夕只得使出花式小妙招，制造各种巧合，终于拿下男神，两人恋爱，殊不知傅凌舟早已盯上她许久。某天，林朝夕的秘密被发现，原本温柔的傅凌舟瞬间变身控制欲爆棚的阴湿男，一次又一次的她逃他追，两个缺爱的灵魂终于真正走到一起。

近日，由何佳男执导、李九霖、关畅、袁梓铭、吴洛浛、主演的国民爱情剧《炽爱难逃》正式开机，该剧以民国军阀混战时期为背景,讲述在战乱之下背负了家仇国恨、立场相悖的一对男女的虐恋故事。