一架国民党侦察机意外坠毁于山间，美籍飞行员跳伞后身负重伤，下落不明。八路军某指挥部得知消息，立派机关参谋何剑笙同志前往该地区暗访飞行员下落。此…

百团大战后，八路军迅速化整为零。部分军队负责保护八路军首脑机关突围上山，与日军周旋，其余部队分散突围，冲破日军包围圈，进入山区和平原，与当地百姓一同开展游击战。突围时，旅部机关参谋赵云与八路军某部骑兵连连长李强相遇，随后他们又碰到经验丰富的老战士老曲、机敏的警卫排周排长以及参军不久的流浪儿小罗。五人阴差阳错被汉奸带到日军老鹰山煤矿。在李强和赵云的带领下，煤矿苦力发起暴动，众人成功逃出这座人间炼狱。鉴于他们五人的出色表现，上级命令他们正式组成一支武装工作队开赴敌后，并任命赵云为队长。从此，这支活跃在敌后的八路军武工队，在残酷的斗争环境中，如同蛟龙入海，与众多抗日军民并肩作战，一次次与凶残的日伪军、特务汉奸展开生死较量。

这部由环球公司（Universal）拍摄、Ronald D. Moore、Gail Berman 及 Lloyd Braun 制片的太空科幻作品，将描述地球人的首艘星际飞船－－"旅行车" 号。船上12名宇航员（算上船载计算机为13人）将展开为期十年的宇宙探索旅行，目的地是一个遥远的恒星系。为了帮助船员们克服长途旅行的无聊感，让他们精力集中，美国航空航天局在船上安装了一台先进的虚拟现实装置。这台有趣的设备允许船员们以任何虚拟身份进入任何虚拟世界进行冒险。这项计划一开始完美无缺，直到系统中突然出现了一个神秘的 "缺陷"。 　　"故事的主题是：你弄不清什么是幻想，什么是现实，为了活命，你只能逃跑。但我们究竟为了什么而活呢？" 环球公司媒体创作室的主席 Katherine Pope 如是说。

故事发生在一座小镇的医院内。一名警官将一位伤员送进医院后，一群身份不明的神秘人包围了医院。宗教？黑帮？恐怖组织？在知晓这群人的身份之前，一场大屠杀已经展开。

憧憬成为帅气的大魔法使的赛特，为了打倒来自天空的怪物涅墨西斯，每天都在努力的进行魔法特训，但赛特的训练一直不顺利，总是引起纠纷给村子里的人添麻烦。某一日，巨型涅墨西斯袭击了村子，为了拯救世界彻底消除涅墨西斯，赛特下定决心去寻找传说中涅墨西斯巢穴地，在旅途中赛特不断的遇到新的伙伴与新的强敌不断的成长。

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

一部关于Shining乐队Niklas Kvarforth眼中的精神疾病的艺术短片，是对这位与自杀、吸毒和自毁主题密不可分的音乐人的个人展现。

“Between Two Voids” is a collaborative nonfiction film shaped in resonance with artist Nancy Atakan, a Virginian who has lived and worked in Türkiye for over fifty years. Rather than follow a linear biography, it drifts through traces – where memory and material intertwine. Moving between Istanbul’s streets and Nancy’s layered archives, the camera lingers on what resists completion; conversations dissolve into the clatter of the street below, old photographs slide out of frame. The poetic and the political inhabit the same breath, each inflected by what remains unsaid. With its destabilised authorship, hybrid language, and textured editing, the film resists explanation in favour of encounter, offering a shared void shaped by intimacy, absence, and the ongoing negotiation of belonging.