1927年，广州最大的船运公司一海航运老板程一海，被国民党军官项国强以清党为由残忍杀害。项国强还丧心病狂地对程家三兄妹——大哥程涛、二弟程毅、三妹程芸展开追杀，三个孩子孤苦伶仃，只能分头逃亡。大哥程涛立志投考黄埔军校，打算日后找项国强报仇雪恨。二弟程毅在码头流浪，后来加入了中共地下党组织。三妹程芸在逃亡途中被一个卖唱艺人收养，从此流落街头，以卖唱维持生计。几年后，程家三兄妹各自踏上了复仇之路，并且最终得以相认。最终，项国强死在了程毅的枪下，程家兄妹随后投身到了抗日行动中。

1927年，广州最大的船运公司一海航运老板程一海被国民党军官项国强以清党之名杀害，项国强丧心病狂地追杀程家三兄妹大哥程涛、二弟程毅、三妹程芸，三个孤苦的孩子分头逃亡。大哥程涛决心投考黄埔军校，留待日后找项国强复仇。二弟程毅流浪码头，后加入了中共地下党组织。三妹程芸逃亡途中被一卖唱的艺人收养，流落街头，以卖唱为生。几年后，程家三兄妹分别展开了复仇之路,并终于相认。最后项国强死在程毅的枪下，程家兄妹投身到抗日的行动中。

阿富汗一直是个新闻热词，最近随着奥巴马的撤军计划和卡尔扎伊胞弟等阿富汗官员遇刺，阿富汗再次成为各大新闻社的高频词。但是关于阿富汗，我们的记忆似乎只限于战争和反恐，这次就让英广最新纪录片《阿富汗》带你深入了解这个神秘国度。。

魔神英雄传第二部OVA，在TV版第二部之后制作发行，共三话。本可作为为系列画上句号的作品。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 　　斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。