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。

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.

一位身份不明的旅行者抵达一个破旧的海边村庄，在这里一份枯燥而神秘的工作找到了他，他每天在海边废弃建筑里看着海面，海上始终无事，他却因为注视不断卷入事件之中，这些没有开头和结尾的片段成为了他摘选过的生活。

松本润将主演NHK第62部大河剧《怎么办家康》，该剧由古泽良太担任编剧，将从全新视角解读早已为人熟知的德川家康的一生，本剧将于2023年播出。

故事发生于一列火车之中，乘客马诺洛（Manolo Segura 饰）心脏病突发不幸离世，经过了一番讨论，大家决定暂时把他的遗体转移到另一节车厢。很快就是跨年夜了，列车上的人们都希望能够早日到达目的地，和他们想念的人团聚。可是，就在这个节骨眼上，列车竟然因为恶劣的天气而停运了。 　　努里亚（劳拉·杜纳丝 Lola Dueñas 饰）最先失去了冷静，更糟的是，她拥有一把手枪。随着时间的流逝，乘客们的耐心正在一点一点的消失，就在气氛紧张到极点，就快要爆发之时，身怀六甲的萨拉（努莉亚·加戈 Núria Gago 饰）似乎有想要把孩子生在列车上的趋势。

故事发生于一列火车之中，乘客马诺洛（Manolo Segura 饰）心脏病突发不幸离世，经过了一番讨论，大家决定暂时把他的遗体转移到另一节车厢。很快就是跨年夜了，列车上的人们都希望能够早日到达目的地，和他们想念的人团聚。可是，就在这个节骨眼上，列车竟然因为恶劣的天气而停运了。 　　努里亚（劳拉·杜纳丝 Lola Dueñas 饰）最先失去了冷静，更糟的是，她拥有一把手枪。随着时间的流逝，乘客们的耐心正在一点一点的消失，就在气氛紧张到极点，就快要爆发之时，身怀六甲的萨拉（努莉亚·加戈 Núria Gago 饰）似乎有想要把孩子生在列车上的趋势。

노주현(노주현 분)과 노홍렬(이홍렬 분)은 대비되는 외모와 달리 형제이며 둘은 가까이 살고 있다. 형 주현은 나이 쉰이 넘도록 진급 시험에 계속 미끄러져 더 이상의 진급을 멈춘 소방 파출소장이며, 동생 홍렬은 아내와 사별한 홀아비로 은행을 다니다 최근 구조조정 때 명예퇴직한 뒤 조그만 도너츠 가계를 운영하는 한편, 종일 컴퓨터 앞에 붙어 주식 거래를 하며 산다. 형 주현의 집엔 몇 해 전 홀로 된, 여타의 아버지 상과는 아주 달리 편법과 변칙으로 살기 좋아하는 아버지 노구(신구 분)도 같이 산다. 이들 삼부자는 늘 붙어서 한심한 밥상 탁구나 동전치기 등으로 시간을 보내며 툭탁 거리기 일쑤다. 　　주현의 아내(박정수 분)는 상품 세일과 자식 자랑 좋아하는 전형적인 주부이며, 딸 윤영(최윤영 분)은 동시 통역사로 지적인 외모나 직업과는 달리 호기심이 무척 많아 사고를 자주 치는 스타일이다. 윤영의 밑으로는 눈만 뜨면 싸우는 중3 영삼(윤영삼 분)과 초등학교 5년생의 인규(성인규 분)가 있다. 　　동생 홍렬의 집엔 대학교 1학년인 딸 민정(김민정 분)이 있으며 소방관인 권오중(권오중 분)과 그의 사촌 동생인 대학생 재황(이재황 분)이 세입자로 함께 살고 있다. 　　소방일엔 베테랑이지만, 여자 문제엔 영 젬병인 오중은 윤영을 좋아 하지만 좀체 진전이 없고, 재황과 민정은 아무도 모르게 사귀다가 아무도 모르게 갈라선 후에도 이따금 다시 서로를 찾는 등 스스로의 감정에 쏠려 다닌다. 주현이 근무한 소방서엔 재미나고 독특한 캐릭터를 가진 이들이 많으며 특히 구급계장 배종옥(배종옥 분)은 지적이면서도 유머가 있는 서른 아홉의 이혼녀다. 일곱 살 된 채은이 홍렬의 집에서 민정에게 미술을 배우고 있어 홍렬의 집에 오곤 하다 홍렬의 따뜻한 마음에 호감을 느끼며 그와 가까워진다. 그러던 어느 날 다시 나타난 그녀의 전남편으로 인해 홍렬과 갈등을 겪게 된다.