电影《重回末日前》信息显示：秦云一角由李沐子饰演。《重回末日前》是由唐成松执导，王子杰、曹曦文、李沐子、陈美霖、杨超然联袂主演的科幻网络电影。 　　丧尸末世的到来、社会秩序崩坏、人类在夹缝中生存……在末世挣扎求生了三月的秦云因为好心施舍而惨死。 再睁开眼发现居然回到了末世爆发前，这一世空间在手，江映一定要改写被炮灰的命运，趁大家还没反应过来，开启疯狂囤货模式，水果、蔬菜、衣物、药品，全都收收收！

电影《重回末日前》信息显示：秦云一角由李沐子饰演。《重回末日前》是由唐成松执导，王子杰、曹曦文、李沐子、陈美霖、杨超然联袂主演的科幻网络电影。 　　丧尸末世的到来、社会秩序崩坏、人类在夹缝中生存……在末世挣扎求生了三月的秦云因为好心施舍而惨死。 再睁开眼发现居然回到了末世爆发前，这一世空间在手，江映一定要改写被炮灰的命运，趁大家还没反应过来，开启疯狂囤货模式，水果、蔬菜、衣物、药品，全都收收收！

39位各行各业且热爱生活的闯关者，开启了沉浸式体验闯关，在一个真实城市的封闭区域内，自由生活任意探索，度过十天假期，每天只需要通过一个游戏关卡，就可以继续在这里生活。最终所有关卡通关，胜出的人成为最后的赢家。

39位各行各业且热爱生活的闯关者，开启了沉浸式体验闯关，在一个真实城市的封闭区域内，自由生活任意探索，度过十天假期，每天只需要通过一个游戏关卡，就可以继续在这里生活。最终所有关卡通关，胜出的人成为最后的赢家。

解放战争时期，广西。国军师管区司令龙耀祖（马吉告 饰）丢失机密文件遭上峰处决，并限其子龙家昌（赵文炘 饰）十日内追回密件。偷出密件的是阿峰（祝新运 饰）、虎仔（常戎 饰）、和兰妹（陈惠珍 饰），地下党农伯（宋德 望饰）要他们把密件十日内送到游击区，后农伯为掩护孩子们壮烈牺牲。三个少年闯过敌人层层设防，扒车混过敌人哨卡，下车时虎仔被敌王参谋（程之 饰）发现，博斗中双方受伤。他们找到丁济平（韩非 饰）医生为虎仔作手术，并将找上门来的王参谋打死，三少年终于来到接头地点。上级派阿妲（何玲 饰）前来接头，不料敌人在河边设下了埋伏......

解放战争时期，广西。国军师管区司令龙耀祖（马吉告 饰）丢失机密文件遭上峰处决，并限其子龙家昌（赵文炘 饰）十日内追回密件。偷出密件的是阿峰（祝新运 饰）、虎仔（常戎 饰）、和兰妹（陈惠珍 饰），地下党农伯（宋德 望饰）要他们把密件十日内送到游击区，后农伯为掩护孩子们壮烈牺牲。三个少年闯过敌人层层设防，扒车混过敌人哨卡，下车时虎仔被敌王参谋（程之 饰）发现，博斗中双方受伤。他们找到丁济平（韩非 饰）医生为虎仔作手术，并将找上门来的王参谋打死，三少年终于来到接头地点。上级派阿妲（何玲 饰）前来接头，不料敌人在河边设下了埋伏......

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.