这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。

故事发生在美国阿肯色州一座相对保守的小城镇里，父亲马歇尔·伊蒙斯（罗素·克劳饰）本地浸信会的牧师，许多人都尊敬他信赖他。母亲南希（妮可·基德曼…

物語は、路上ミュージシャン・神崎優衣と舞台俳優・西潤一は路上パフォーマンスを通じて出会い、惹かれ合う。二人の交際は順調に進んでいるかに思えたが、次第に西の様子がおかしくなり、失踪する。西の行方を探して2年が過ぎたある日、優衣は「西の記憶を預かっている」との手紙を受け取る。”記憶の上映会"を訪れた優衣は、西が抱えていた秘密を知る。

《通往机场的路》主要是描写关于“关系”的作品，从“已婚男女之间有没有堂堂正正的关系”的问题开始进入剧情。剧中，金荷娜将饰演女一号崔秀雅，是一名有12年乘务员经历的副乘务长。在崔秀雅还是一名新人乘务员的时候，与机长恋爱结婚，现有一名上小学5年级的女儿。崔秀雅天生就是做乘务员的料，无论跟谁都能相处得来。她自己认为无论是做妻子，还是做妈妈，都可以给自己打85分。在遇到男主角后，她的人生迎来新局面。　　李尚允饰演男主人公徐道宇，是一名建筑学专业的讲师，拥有总是能令人愉快的性格。徐道宇与妻女享受平凡的生活，突然卷进某件事件中，陷入困顿，并且崔秀雅也慢慢渗透进他的生活。

求婚被拒后，亚历克斯（Alex）本计划和新未婚妻开启一段愉快的假期，却独自一人踏上了从洛杉矶前往澳大利亚墨尔本的旅程。他陷入了轻微的震惊状态，在途中遇到了同样在冒险的罗尼（Ronnie）。随后，两人一同踏上了穿越澳大利亚纳拉伯平原的公路之旅，前往珀斯……

讲述了网络安全专家向南与在参加公司年会的当天，遭遇了一场精心策划的职业“抹除”。手机中被删除的工作记录、同事群聊与打卡数据，让他瞬间失去了在北城科技工作十年的所有证据。面对老板、同事甚至女友的集体否认与污蔑，向南与凭借扎实的专业技能，逐步恢复被篡改的数据，最终揭露了公司为窃取其开发的“神盾安防程序”版权所设下的圈套。故事聚焦于数据安全、身份验证与知识产权保护，展现了一名技术人员在遭遇系统性网络与职场欺诈时，如何运用专业能力维护自身权益、重建真相。

"With the second film in the series – The Stairway to the Distant Past – it becomes clear that Hayashi is not content to ride on his past successes, is not willing to let his character stagnate. There are some major tonal shifts in this film that may surprise those who simply wanted more of what The Most Terrible Time served up, most notably the move away from black and white and into color photography and a general absence of the playful mood of the first. This one becomes much more serious in very short order. Gang tensions are again running high in Yokohama. Hama’s business is bad, his car has been repossessed and – most troubling – his long absent mother has returned to town, threatening to upset the life Hama has built for himself and the younger sister he has raised since they were abandoned in childhood. When a crooked cop leans on Hama to investigate a series of robberies on the riverfront – an area ruled with an iron fist by the mysterious Man In White – Hama has no choice but to cooperate and take on the dangerous job. After all, if the cops shut him down who will take care of his sister? And it’s not like he can afford to pay the bills with the lost pet jobs he’s been taking, anyway …" - Twitch Review

Fathers and sons, and political exile. In the fall of 1975, Franco is dying but repression continues. Jules and Eve, living well in exile in France, continue to assist the resistance. The underground calls with a job for either, and Eve goes, to the disappointment of their son, Laurent, visiting his parents at their seaside place in Cherbourg and not getting on well with his father. When a road accident in Spain brings tragedy, the father and son's conflict worsens. After Laurent and his girlfriend, Julie, pay a harrowing visit to Jules, Julie stays, taking Jules as a lover. Revelations and admissions about Jules and Eve make way for new ground for Jules and Laurent.

2017年，导演带着84岁的母亲前往冈仁波齐朝圣，并将这一过程拍摄成纪录影像。

Levon remembers his childhood in Turkey: love, political brutality. A bloody comedy. Also a modern crime story about Armenian terrorists and Turkish secret agents, about Kurds tragedy. Askarian’s most recent project is another meditation on the artist in exile. Like the filmmaker Avetik and the real-life composer Komitas from his previous films, Levon - a writer of Armenian extraction now living in Rotterdam - is caught between memories of homeland and the realities of contemporary life. From his Dutch domicile, Levon reminisces about his brother-in-law (a hairdresser who robs dead Turks), a brilliant Kurdish musician, a red-bearded executioner, a seventeen-year-old girl with chestnut-colored skin, and a Turkish Apollo with eight wives who likes to bury himself in hot ash. His memory is also populated by beautiful thoroughbred horses, stray dogs, camel drivers, soldiers, and Turkish policemen. These poetic, almost surrealist scenes of magic love and political cruelty are contrasted with the reality of present day Rotterdam, presented in the guise of a modern crime story with Armenian terrorists and a Kurdish tragedy. "Every year, we look at thousands of films and when one shines above the rest, as ON THE OLD ROMAN ROAD did, it is indeed a pleasure. Don Askarian, recently honored with a Harvard Film Archive retrospective, is considered the greatest living Armenian filmmaker. In Askarian's latest film, which he describes as “a bloody comedy”, a man in exile remembers a childhood of magic and mayhem, complete with grave robbers, brutal assassinations, horses, and men buried in hot ash. As striking a visual feast as one can find, this is an extravagant and crystalline treasure, a film whose rewards far outweigh its considerable demands."