顾含章回到了她17岁那年，这一世她再也不想重蹈覆辙， 却遇到了季行舟，她避之不及，不想和这样的人产生任何联系。但是季行舟却贴了上来，本剧改编自番茄小说《心动！隔壁舞室里有一束月光》作者:叁生三三

顾含章回到了她17岁那年，这一世她再也不想重蹈覆辙， 却遇到了季行舟，她避之不及，不想和这样的人产生任何联系。但是季行舟却贴了上来，本剧改编自番茄小说《心动！隔壁舞室里有一束月光》作者:叁生三三

《async - 第一束光》是阿彼察邦与日本音乐家坂本龙一合作的作品，音乐来自于坂本龙一的最新专辑《async》。作品里，睡梦中人们的影像都来自于阿彼察邦的朋友们。他把相机寄给朋友们，让他们自己拍摄而成。阿彼察邦时常携带 Digital Harinezumi 数码相机，不少作品是使用此相机拍摄完成。 　　此作品2017年4月首次展出于日本东京和多利美术馆（WATARI-UM）。

《async - 第一束光》是阿彼察邦与日本音乐家坂本龙一合作的作品，音乐来自于坂本龙一的最新专辑《async》。作品里，睡梦中人们的影像都来自于阿彼察邦的朋友们。他把相机寄给朋友们，让他们自己拍摄而成。阿彼察邦时常携带 Digital Harinezumi 数码相机，不少作品是使用此相机拍摄完成。 　　此作品2017年4月首次展出于日本东京和多利美术馆（WATARI-UM）。

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'

职场、情场都失意的落魄音乐人穆随心驱车前往云南，准备攒一个独一无二的必红女团打场翻身仗，跨越三千公里的一场寻心之旅就此启程。在蝴蝶泉边洋溢的…

一位用生命守护群众的逆行者，一段不平凡而又揪心的爱情故事。职场、情场都失意的音乐人穆随心（袁文康 饰）驱车前往云南，偶遇单亲妈妈彭彭（王西 饰），二人感情逐渐升温，发现了彼此身上的亮光，也触摸到了内心最深处的秘密伤口，彭彭内心深处无法走出的有关孙雨桐（邓超 饰）的心结也因此慢慢解开······

五岁瞎眼女孩张萌命运多舛，十二年前被父亲张磊卖给人贩子，母亲王淑芬怒将张磊打伤逃走。十二年后，王淑芬偶然遇到被养姐李菲陷害而遭到陈昊天羞辱改名为李萌，王淑芬通过胎记认出李萌就是自己的亲生女儿。王淑芬看着眼前受尽屈辱的女儿，泪水夺眶而出，她冲上前去紧紧抱住李萌，声音颤抖地说：“孩子，你受苦了，我是妈妈呀！” 李萌愣住了，她在黑暗中感受到这陌生又温暖的拥抱，心中五味杂陈。 王淑芬将李萌带回了自己简陋的住处，她一边为女儿准备吃的，一边将这些年的经历缓缓道来。李萌听着母亲的讲述，眼泪止不住地流，原来自己还有亲人，原来自己的身世如此凄惨。 王淑芬下定决心要为女儿讨回公道，她带着李萌去找李菲。

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