讲述一对警察在巡逻过程中响应新的无线电呼叫，到达现场解决事件的故事。

　　

　　泰剧《名门绅士2：淑女之心》是泰国三台庆祝电视台成立52周年的项目。讲述名门绅士五部曲五大少的后代们的爱情故事（大少2个孩子，二少1个孩子，三少2个孩子，四少2个孩子，五少4个孩子）。续作依然是由五部曲组成，分别由五家公司进行制作。每部预计12-15集，每集约80分钟。　　La-or Chan #ลออจันทร์  Act Art Generation co.,Ltd 制作　　四少儿子身为大商场总裁，发现身边一位留学归来的神秘女秘书竟然做出奇怪的偷窃行为，从而展开一系列离奇的故事......

　　Cigarette Girl (2023), which has garnered significant attention due to the couple Kamila Andini and Ifa Isfansyah, delves into the life of a female protagonist entwined with the 1960s Indonesian cigarette industry.

　　二战期间，日军未敢染指澳门。秘密的日葡协定使澳门在太平洋战场上成为一块难得的“飞地”，同时沦为情报汇集之地，间谍鏖兵之所。本剧所营造的澳门正是谍战波诡云谲的“东方卡萨布兰卡”，以中共建立秘密运输通道为主线，层层展示国共日、葡、美等各方盘错交织的谍战网络，走进一个没有硝烟的战场，揭示一段尘封已久的“档案”。　　抗战爆发后，曾领导过广州起义的中国著名将领方天庭将军从海外归来途经香港，准备回国参加抗日。澳门商会会长的公子、留学海外一腔热血报效祖国的江浩也一同前往。在日本眼里，中国只有一个军人，那就是方天庭。他们唯恐方天庭将军安全回到内地指挥中国军队与其对抗，于是派出日本“特高课“的杀手企图将方将军杀死在香港。危机中，江浩将方将军护送到了日本军队无法进驻的澳门，然后再经那里奔赴抗日前线。于是日本又派女间谍神尾悦子进驻澳门，企图将方天庭将军杀死在澳门，而国民党特工得到的指示是“如果不能说服方将军去重庆，那么就把他杀死在澳门，绝不能让共产党得到他！”于是一场斗智斗勇、惊心动魄的较量在澳门这块“飞地”展开了。几经周折，死里逃生，江浩与我澳门秘密情报人员终于安全地将方将军护送回国。　　这时，我中共情报机构与国民党情报机关几乎同时掌握了一个重要情报，即日本政府与中立国葡萄牙政府签署了一个决定澳门命运的秘密协议，该协议代号为“菊花档案”。为利用澳门这块具有特殊意义的地区开展对敌斗争，无论是中共“特科”，还是国民党情报机关，都想得到“菊花档案”的副本。为此，中共又联手江浩，与江浩的恋人、潜伏于国民党特工组织的中共间谍林娜等人打入澳门上流社会，国民党情报机关也派出自己最优秀的谍报员石磊到澳门，而他们的对手还是日本间谍神尾悦子。几经生死，江浩等人又抢在石磊之前潜入澳督府拍下了“菊花档案”的胶片，并发现了一个惊天机密-----由于日本有10万侨民居住在南美的(葡属)巴西，日本政府担心自己的侨民受到葡萄牙政府的迫害，于是同葡萄牙政府签属了一个秘密协议----战争爆发后，日本即使占领了整个亚洲，也绝不派一兵一卒进驻(葡属)中国澳门，否则葡萄牙政府将把居住在巴西的10万日本侨民全部关进集中营。也就是说，澳门将成为战争时期亚洲唯一的一块不可能被日本帝国主义占领的净土。中共“特科”掌握了“菊花档案”的秘密后，便利用澳门这块具有特殊意义的地区开展了一系列爱国抗日活动：香港沦陷，日军大肆搜捕此前从上海转移到香港的数百名中国文化艺术界的名人与社会名流。大敌当前，江浩又不顾个人安危，只身前往香港担负起营救“香港800名人志士”的任务，这时离开了澳门的日本间谍，为报在澳门被江家势力所牵制之仇，开始在香港大开杀戒，要将江浩杀死在香港。江浩在中共党组织的鼎力协助下，从水路将其中的一部份文化名人几经周折、历经风险、化险为吏，最后安全送到了澳门，使包括众多名人志士免遭日军的屠杀。　　此后，江浩又利用自己澳门商会会长儿子和澳督好朋友的特殊身份，一边与日本特工周旋，一边又将“澳门王”元深及澳门中华商会的爱国人士苏子玉等团结在自己身边，使风雨飘摇中的澳门度过一个又一个难关，这其中包括“关闸事件”、“澳门币危机”等等，为60年后的澳门回归祖国奠定了基础。可以肯定地说，如果没有当年江浩、林娜以及苏子玉、元深等人的努力，澳门的现代史将是另一个样子。

　　这部电影讲述了印度外交官 J. P. Singh 的真实故事。当寻求庇护的女性乌兹玛·艾哈迈德抵达大使馆时，他的世界发生了翻天覆地的变化。乌兹玛声称自己是一名印度公民，她被绑架到布内尔，并被迫嫁给了一名巴基斯坦男子，名叫塔希尔，是普什图族人。她还有一个患有地中海贫血症的女儿，是她之前一段失败的婚姻所生。她原本以为塔希尔是真心爱她，所以她去了巴基斯坦见他，结果却被带到一个偏远的村庄，并遭到虐待。随着紧张局势的升级，辛格必须在复杂的国际外交、巴基斯坦的法律体系以及来自印度和巴基斯坦政府的压力之间周旋，以解决此事，并帮助乌兹玛安全地通过瓦加边境离开。这部电影深入探讨了当个人生活与国家事务交织在一起时，外交官所面临的道德和伦理挑战

　　当10个年轻人去探索一家废弃的比萨店时，他们很快就知道，他们将不得不为自己的生命而战，同时试图揭开比萨店令人不安的历史。

　　这是一个关于亲情与爱情的故事。雪（黄翠如 饰）与恋人威（王凯 饰）买下一只可爱的小狗Snowy，两人在照顾Snowy过程中感情也日益更坚固。不料威因工作表现出色，被调到北京三年才能返港。但雪不愿放弃乐团前往东京等地演唱的机会，拒绝与威同往北京。两人陷入感情僵局。与威分离后，雪与Snowy相依为命，开始感怀身世——雪幼年因父母离异而记恨母亲（黄淑仪 饰），不理会母亲多次示好，两人关系持续交恶。感怀之下，雪萌生了为小狗找回亲生母亲的念头，但几经尝试却以失败告终。期间却因为Snowy的帮助，让雪与母亲有了冰释前嫌的机会……

　　乡村的古惑仔，乡村的江湖，和香港的江湖一样，也是红颜祸水、恩怨械斗。 正所谓，有人的地方，就有江湖。　　村里有人，我家的小村，也就是一个完整的江湖。 我——陈杰、妹妹——陈芳、小弟——大牛(刘坤)、红颜——彭小丽、死敌——江帆。原 因很简单，我们都喜欢彭小丽，那么就用古惑仔的办法来决定小丽的归宿吧。

　　Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2: Years, like a single instant prolonged to this point, come to an end.　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1: Really hard to drink more.　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point?　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

《剧场版进击的巨人前编红莲的弓矢》是由荒木哲郎执导，梶裕贵、石川由依主演的一部影片。