炎魔（德本恭敏 配音）从火焰之中化身而来，他的使命是追捕狩猎从魔界逃脱，散落在世界各处作恶的“魔”。为了完成使命，雪鬼姬（千叶纱子 配音）是寒冰的化身，与此同时亦是炎魔的助理，两个性格和身份都截然相反的人之间却有着十足的默契。 在河童妖怪卡巴艾尔（佐藤介词 配音）的帮助和引领之下，炎魔和雪鬼姬来到了人间，成立了炎魔事务所。某日，一位名叫亨利希的德国男子出现在了炎魔的面前，希望炎魔能够帮助她寻找失踪的女儿罗拉，然而，此时此刻的炎魔并不知道的是，他和雪鬼姬因此而陷入了一个充满了绝望亦没有出路的黑暗世界之中。

地獄界の権力をにぎる閻魔大王の甥にあたるえん魔くんは、人間界で人間を妖怪から守るよう命ぜられ、日本へと向かう。そこで知り合ったツトムくんの周りで起きる奇っ怪な事件を、仲間たちと共に解決していく。漫画版では全編がギャグで構成されているため、あまり深刻な話はないが、アニメ版では義理人情に訴える涙話があったり、強敵と死に物狂いで戦うなどドラマチックな展開になっている。

4话OVA动画《鬼公子 炎魔》的第2话OVA 第2話 非躯魔（ピグマ） 炎が化生した炎魔（えんま）の使命は、魔界より逃げ出した「魔」を狩ること。 そのためパートナーの雪鬼姫（ゆきひめ）、情報収集担当であるカパエルと共に人間界で探偵をしている。 カパエルが情報収集のためバイトしているキャバクラ「らぶっ子学園」。そこで働いている七美は、彼氏のサブのため、馴染めない仕事でも頑張って働いていた。 七美はサブから誕生日に日本人形をプレゼントされた。人形集めが趣味で、しかもサブからのプレゼントということもあり七美はとても喜び、職場のキャバクラにも人形を連れていく。 しかし予定より早く仕事から帰宅したある晩、七美はサブの浮気現場を目撃してしまう。その日を境に、七美のまわりで関係者が奇妙な殺人事件が起こり始めた…。

阎魔大王指派自己的甥儿炎魔君从地狱到人界保护人类和消灭邪恶的妖怪。炎魔君与朋友雪子姬、卡巴艾尔来到人界，他们在那里认识了小学生勉，然后他们不断解决四周出现的怪事件。

沈知离为复活师傅凭古方寻找药引，而苏沉澈到访却让沈知离陷入时间循环，沈知离发现苏沉澈身死时光就会倒流，为顺利找到药引二人一同上路，默契和误会接踵而来，还有神秘人暗中指引，两人能否破解时空之谜找到药引？

林臻穿越成摄政王府世子，得知自身仅剩三月寿命，按照原著，他终将沦为他人踏脚石，家族也会走向覆灭。洞悉全盘剧情后，他摒弃往日纨绔模样，决意挣脱命运枷锁。新婚之夜便精心布局，接连截胡对手底牌，抢夺气运、收拢心腹、破解生死危局。步步为营扭转局势，不再任人摆布，亲手改写既定结局。

爱奇艺自制古装网剧《公子倾城》概念海报释出！古灵精怪的江湖侠女遇上孤傲绝尘的无感庄主，阴差阳错下感知互换。奇妙姻缘“甜”注定，反转爆笑乐不停。…

电影讲述在辗转于菲律宾非法体育场的拳击选手马可（姜泰柱 饰）面前，出现了身份不明的男子“贵公子”（金宣虎 饰）和具有不同目的的势力，并展开疯狂追击的故事。

邱公子（王敏德饰）、RAYMOND（古天乐饰）、杨公子（雷宇扬饰）、王公子（张耀扬饰）四人是汽车大盗，其中杨公子好色，王公子好赌，RAYMOND善于格斗，而邱公子头脑精明，经验丰富。他们身怀绝技，专偷名车，而且善于利用高科技手段应付各种防盗设备，令香港警方束手无策。 其实RAYMOND是警方派来的卧底，而且还是负责此案的谷警司（秦沛饰）的儿子，为了取得邱公子的信任，他甚至把谷警司的新宝马车也偷了回来，终于打入了这个偷车团伙的内部。他正在搜索证据，希望把他们一网打尽。

The movies Claude Chabrol made in the first ten years of his career are vastly underrated nowadays with the film under review being, arguably, the most obscure of the lot; admittedly, LES GODELUREAUX – an unwieldy single-word title if ever there was one (literally meaning "the popinjays") – could not have endeared it much to audiences. Consequently, it seems rather hard now to believe that Chabrol's more renowned colleague at the "Cahiers Du Cinema", Jean-Luc Godard, once named it among "The Top Six French Films made since the Liberation"(!) alongside Robert Bresson's PICKPOCKET, Jean Cocteau's LE TESTAMENT D'ORPHEE' and Jean Renoir's LE TESTAMENT DU DOCTEUR CORDELIER (all 1959)!! Thematically, the film is basically Bresson/Cocteau's masterful LES DAMES DU BOIS DE BOULOGNE (1945) reworked for the "New Wave" set – though the revenge this time around is triggered by a petty incident between strangers, making the whole scheme an even more cynical one. Apart from the director himself, the film also finds some choice performers at somewhere near their best, notably the two leads: Jean-Claude Brialy (genuinely Mephistophelean, he displays a remarkable flair for melodrama throughout) and an entrancing Bernadette Lafont (peerlessly epitomizing earthy sensuality) – though some, like the reviewer of the "Films De France" website, actually felt their characters to be caricatures! Equally imperative to the success of the film is Jean Rabier's glossy black-and-white camera-work, a typically fine score by Pierre Jansen and also a clever use of overlapping sound (actually one of the revolutionary cinematic techniques characteristic of the French "Nouvelle Vague" movement). The plot – oozing with the hedonistic/nihilistic outlook of Chabrol's regular scribe Paul Gegauff – sees the seemingly bisexual bourgeois fop Brialy sending out coquettish seductress Lafont to attract the attention of a young man (well-played by virtual unknown and future director Charles Belmont) who had spited him at the very start of the film. Subsequently, the newly-minted trio becomes virtually inseparable ensuring an invasion of the latter's domestic life (which embarrasses him no end, since he is still in the custody of a strict and wealthy uncle) – as much as they force him into their own private chaos (which involves not only an omnipresent homosexual valet by Brialy's side but a nerdy soon-to-be-wed cousin whom Lafont has no qualms about seducing in front of her current boyfriend, Belmont)! Although at one point a ménage-a'-trois between the three leads is implied, some of their shenanigans are fairly harmless – such as disrupting an art exhibition with the dissemination of sneezing powder, or an upper-class soiree' by incorporating into the program both a sultry dance (performed by none other than a dark-haired Stephane Audran!) and an eccentric ditty sung by a pathetic ex-vaudevillian lady. However, the bacchanal in the style of Ancient Rome, togas and all – held at Belmont's house, having charged Lafont with its upkeep while he is away on business (in the same vein, Luis Bunuel's contemporaneous VIRIDIANA [1961], would feature a famously blasphemous parody of Da Vinci's "The Last Supper") – has more severe repercussions; this sequence is cleverly, and amusingly, cross-cut by Chabrol with the most formal of restaurant dinners being consumed by the oblivious Belmont and his uncle! Eventually, the schemer feels vindicated and confesses to having taken the young man 'for a ride' and that Lafont (whom the boy had genuinely fallen for and was even planning to marry) had been his tormentor's mistress all along. However, in keeping with the film's darkly humorous tone (boasting a couple of bona-fide howlers along the way), the coda shows that, though obviously broken-hearted at first, Belmont has picked himself up by the time we next see him a year later and is consoling himself with a plain-looking girl; in fact, running by chance into Lafont on a pier, it is rather the latter who is unable to mature – being seemingly involved in yet another romantic scam (with a high-ranking Naval officer, no less)…