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'

男主人公“南柯”是电竞学园电竞系的新生，怀揣着电竞理想，从电竞菜鸟一步步成长为一个高手。他是“游戏上的天才，生活中白痴”，从学园中拉拢了一批性格迥异的人组成“菜鸟战队”，与电竞系精英战队抗衡。在组队的过程中，遇到女主角明真，并和女主产生了“友达以上恋人未满”的感情......

男主人公“南柯”是电竞学园电竞系的新生，怀揣着电竞理想，从电竞菜鸟一步步成长为一个高手。他是“游戏上的天才，生活中白痴”，从学园中拉拢了一批性格迥异的人组成“菜鸟战队”，与电竞系精英战队抗衡。在组队的过程中，遇到女主角明真，并和女主产生了“友达以上恋人未满”的感情......

「我们接下来可以做什么？」职业电竞队队长因多支队伍被解散，决意转换跑道成为职场新人，看似重踏「正轨」其实过得同条咸鱼冇分别，自闭打机时机缘巧合认识了隐世世一，重燃电竞初心。尝试不靠后台，瞒住老豆男友自组队伍参加业余比赛。更在茶餐厅自组民间比赛声名大噪，却招来财团恶意打压，面对再次的Cancel、解散，梦想如战场，这班在虚拟世界的战友又如何在现实生活中打败巨人？首部剧情电影计划大专组作品，杨帆与白玮琪戏里戏外一齐用爱发电，合导交出一出青春热血电竞物语，一时输赢并不那么重要，唯有并肩作战才能继续开发新的秩序。

青春混亂迷茫，電子遊戲或是達成英雄夢的方法。六位熱血女生在電競世界裡共 　　同作戰，希望透過勝出比賽打破現實世界對她們的成見，卻似乎比想像中困難， 　　更要面對未知的前路與挑戰。

儿子深爱并执着ROV游戏，但作为学校训官的母亲起初并不理解。然而当看到儿子一步步深入游戏之中，母亲也开始努力去接触、去了解ROV游戏。为了理解儿子那份对游戏的执着，她一边研究着游戏，一边也组织起一个五人游戏战队，准备去与儿子的游戏战队较量。然而，当战队之争即将开启的时候，这位训官母亲却主动选择了放弃……

功成名就的电竞大神马达与高中粉丝白阳灵魂互换，两人都获得了自己梦想中的生活，随之而来的也有对方生活中的困境...

全明星电竞女神战队由队长陈汉典领军，集结六位在各领域活跃的女性艺人玩家：陈妤、解婕翎、舒子晨、萝莉塔、凯莉、洗菜，整个过程将以实境秀方式进行录制，除了展现女神们在日常繁忙的工作之余，对电竞活动的执着与认真。

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