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'

被視為蠶食農作成果的荔枝椿象，一直被政府撲殺。飄洋過海來到異地打工的外勞，也總被扣上歧視性標籤，面對多方壓迫，令人慨嘆。來自越南的移工阿力與阿梅在台灣相識相戀，更孕育了二人的愛情結晶，但懷孕的她被僱主視為負累，只能當黑工維持生計，反映的正是當今台灣外勞懷孕後擔心養不起孩子下的無奈選擇。阿梅臨盆在即卻遇上警察搜查，阿力攜妻逃到滿佈荔枝樁象的山上，在世界的盡頭，命運終如荔枝椿象？影片完全扎根台灣，以樸實無華又具感染力的影像道盡這些異鄉人的宿命。

被視為蠶食農作成果的荔枝椿象，一直被政府撲殺。飄洋過海來到異地打工的外勞，也總被扣上歧視性標籤，面對多方壓迫，令人慨嘆。來自越南的移工阿力與阿梅在台灣相識相戀，更孕育了二人的愛情結晶，但懷孕的她被僱主視為負累，只能當黑工維持生計，反映的正是當今台灣外勞懷孕後擔心養不起孩子下的無奈選擇。阿梅臨盆在即卻遇上警察搜查，阿力攜妻逃到滿佈荔枝樁象的山上，在世界的盡頭，命運終如荔枝椿象？影片完全扎根台灣，以樸實無華又具感染力的影像道盡這些異鄉人的宿命。

影片改编自马伯庸同名小说，唐天宝年间，人到中年的李善德（大鹏 饰）骂骂咧咧干了很多活，抠抠搜搜花了不少钱，到头来却还是个无名小吏。然而这一切随着一次召见似乎有了转机，某天有人安排给他一个“荔枝使”的肥差，只要办成，那就是荣华富贵人生逆袭，但要是办不成……

故事讲述了主人公李善德（雷佳音 饰）在同僚的欺瞒之下从监事变身“荔枝使”，被迫接下一道为贺贵妃生辰、需从岭南运送新鲜荔枝到长安的“死亡”任务，荔枝“一日色变，两日香变，三日味变”，而岭南距长安五千余里，山水迢迢，这是个不可能完成的任务。为保女儿李袖儿余生安稳，李善德无奈启程前往岭南；与此同时，替左相寻找扳倒右相敛财罪证的郑平安（岳云鹏 饰）已先一步抵达岭南。各自身负重任的郎舅二人在他乡偶遇，意外结识胡商商会会长阿弥塔（那尔那茜 饰）、空浪坊坊主云清（安沺 饰）、胡商苏谅（吕凉 饰）、峒女阿僮（周美君 饰）等人，还遭遇岭南刺史何有光（冯嘉怡 饰）和掌书记赵辛民（公磊 饰）的重重阻拦。双线纠缠之下任务难度飙升，他们将如何打破死局、寻觅一线生机？

大齐贵妃杨干凌意外重回入宫之初，面对国库空虚、边疆欠饱、帝后打压，她假意伏低，借荔枝引起风波让皇后接连犯错、家族朝堂逐渐失势；用计谋化太后赏赐合欢酒将阻拦的宫女推至皇帝床榻，引皇后“捉奸”。杨干凌小心谨慎、步步为营，欲扳倒帝后，挽救自家，澄清朝堂。

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。