为救家族沈南枝被迫嫁给江家植物人少爷江浩辰冲喜。却不料三年后，江家找回亲生儿子江亦，竟是她曾资助又分手的“替身”恋人。昔日被她视作“白月光影子”的少年，如今携滔天权势与病娇占有欲归来，将她困在叔嫂禁忌中步步紧逼。白月光陆文璟回国暗藏算计，试图利用沈南枝获取江家资源，植物人丈夫江浩辰苏醒即黑化。童年落水被救真相浮出水面,意外怀孕更让两人关系升温。最终两人撕破禁忌突破家族阻碍。

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'

在学校中人气很高的体育老师俊基（张赫饰）对学生英恩（赵宝儿饰）唐突的告白感到堂皇。婚后一直过着平淡生活的俊基被无所畏惧的英恩唤醒了长久以来不曾感受到的心跳和悸动。下雨天，没有雨伞的俊基将自己的体育服借给了英恩，那天以后英恩对俊基的追求变得更为积极，但找回理性的俊基开始意识到要与英恩保持距离，但英恩却越发疯狂而炽烈的向俊基示爱，甚至开始将俊基的妻子素妍视为障碍…英恩越发疯狂的所作所为开始令俊基感到不寒而栗…

主角在母亲失去踪影后，努力和未婚妻一起建立新生活，也似乎渐渐回到人生的轨道上。然而好景不常，债主找上门来要他偿还债务，而且条件一天比一天苛刻。最后债主竟提出一宗出人意表的交易：只要主角让债主与母亲会面，所有债务一笔勾销。这奇怪的条件背后隐藏着甚么阴谋？母亲欠下巨款消失，在债主的逼迫之下，儿子代替母亲还债，究竟母子之情是否那么伟大无私？这是一幅关于破碎亲情的肖像画，因为母亲而家庭破碎的儿子，经曆常人无法想像的痛苦。韩国新晋导演冷静凝视经济城市金钱挂帅的人心病变，令人窒息的现实压迫，在城市人心中萦绕不去。

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

一场意外，让萧宁魂穿大境朝沦为苏家赘婿，他以古法点化茶韵酒香，引得万民竞逐；创报纸、揽英才，助公主纵横朝堂；面对商女刁难、前妻轻慢，他从容布局，以商道为剑斩断世俗偏见，在鄙夷声中书写逆袭传奇。

一场意外，让萧宁（潘毅鸿 饰）魂穿大境朝沦为苏家赘婿，他以古法点化茶韵酒香，引得万民竞逐；创报纸、揽英才，助公主纵横朝堂；面对商女刁难、前妻轻慢，他从容布局，以商道为剑斩断世俗偏见，在鄙夷声中书写逆袭传奇。