天骄少主萧辰遵家族历练令，化身农民工体验底层，却遇包工头恶意拖欠工友薪资，自己也遭羞辱。此时他与程雨嫣因意外结缘，程家正陷危机、被曹宝明逼婚。萧辰为讨薪与护程雨嫣，不再隐藏身份，以雷霆手段惩治欠薪反派、粉碎曹宝明阴谋，还工友公道，也凭实力赢得程雨嫣真心，最终以九重聘礼迎娶佳人，尽显天骄本色。

顶尖舞者黎愫失恋醉酒，阴差阳错与未婚夫的弟弟霍悬野闪婚，原想离婚却被他以“继承公司”为由挽留。 两人协议合作，却在相处中渐生情愫。霍悬野携全部家产上门求娶，黎愫终于动心

顶尖舞者黎愫失恋醉酒，阴差阳错与未婚夫的弟弟霍悬野闪婚，原想离婚却被他以“继承公司”为由挽留。 两人协议合作，却在相处中渐生情愫。霍悬野携全部家产上门求娶，黎愫终于动心

백현, K-POP 솔로 아티스트로 새로운 역사를 쓴다! 　　백현이 12년 만에 선보인 첫 단독 아시아 투어의 마지막을 장식한 ‘Lonsdaleite [dot]’ 이 스크린에 펼쳐진다! 　　2024년 3월, 서울에서 시작하여 아시아 13개 도시를 거쳐 피날레 콘서트로 마무리된 뜨거운 순간! 　　백현의 히트곡 ‘Bambi’, ‘Candy’, ‘UN Village’ 무대는 물론, 　　화려한 퍼포먼스와 완벽한 라이브로 그날의 감동을 선사한다! 　　오직 영화에서만 볼 수 있는 백현의 단독 인터뷰와 비하인드 영상까지! 　　ScreenX, 4DX, ULTRA 4DX로 더 크게, 더 생생하게 대형 스크린으로 만난다! 　　전율의 무대를 다시 느낄 시간! 'BAEKHYUN: Lonsdaleite [dot] IN CINEMAS'

曾是顶尖特种兵的战龙，为守护平凡幸福选择褪去锋芒，去与聪慧善良的未婚妻林清雪过着低调的生活。然而此时林家别墅，林爸正给林清雪介绍新的联姻对象，林清雪大声喊着不愿意，林爸林妈却说没有用，不嫁也得嫁···

付时宜遵继母安排，嫁给对自己有救命之恩的京都首富白家植物人少爷白景霆，悉心照料。期间，她既要应对前男友白津祎的欺压，又要防备心机女的刁难 —— 心机女觊觎白家产业，联合白津祎伪造证据，污蔑付时宜加害白景霆，甚至在她为白景霆针灸时挑衅。

沈涅与神秘女子叶娇娇结婚后，揭开了爷爷安排婚事的真相，并发现她与自己有着深厚的过去，最终携手揭露阴谋，治愈怪病，恢复幸福生活。

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses