如果有男人向你求婚表達他很愛你時，背後是否有無法得知的秘密呢？秘密1：告白的秘密，妳自己是否曾經像女主角一樣偶遇人生中的他，一見鍾情、怦然心動嗎？為了遇見這樣的他做了多少努力.....就讓我們一起看下去吧。
1）魔术师但丁依靠神秘的斗篷在时尚都会挣下超高的人气，但是斗篷中藏着可怕的秘密，但丁则用录像记录下了一切。直到某天助理斯卡莉特将录像带交给警方，一切昭然若揭；2）野生科学家阿方索制造了一个连通平行空间的大门，他和另一个世界的自己交换空间，到对方的世界进行15分钟的探险，却发现彼此的世界有着天壤之别。3）三个热衷做极限运动的年轻人偶然来到一处画着神秘图案的场所玩耍，不知不觉中遭到一群恐怖之人的包围和袭击；夜幕下的城市突然响起刺耳的警笛声，警方和疯狂逃跑的冰淇淋车展开夺命追逐。卡文和女友艾瑞丝外出张望，谁知一转眼艾瑞丝竟消失不见，卡文疯了一般四下寻找。 现代化的社会，人们依赖影像大刷存在感，却都变成了转瞬即逝的数据碎片……
本剧根据著名畅销小说《红龙》（Red Dragon）和同名电影改编。 Will Graham（休·丹西 Hugh Dancy 饰）是FBI的特别调查顾问，也是一名犯罪分析师。Will有一种特别的能力：可以在犯罪现场根据线索还原犯罪经过。他正在调查一起凶残的连环杀人案，凶手非常狡猾，每次作案留下的线索都很少。为了破案，Will向著名的心理医生Hannibal Lecter（麦德斯·米科尔森 Mads Mikkelsen 饰）寻求帮助。在案件调查的过程中，这位学术精湛又极具个人品味的Hannibal都对Will有所启发，让他感觉离揭开凶手的真正身份又近了一步。但在亲手击毙罪犯之后Will陷入了自责和幻境中，不得不再次向Hannibal寻求帮助。渐渐，Will越发依赖这位受人尊重和爱戴的医生。但是，故事似乎才刚刚开始......
史进盘踞少华山，希望建功立业上梁山。为了救被贺太守强占的画室王义的女儿而潜入太守府，和刺杀贺太守的鲁智深搅在了一起。为了救鲁智深，史进杀出重围，用冒充宿太尉入华州救人的方法骗过了贺太守，成功救出兄弟。
故事设定在1990年，聚焦一群舞者共同参加为期3天的排演，后却变为通往毒品的地狱之旅，麻木使得有些人感觉置身天堂，但大多数人却陷入地狱。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
情人节临近，华伟相约朋友圈中的富二代俊男靓女们到国外开夜蒲派对，并计划在这特别的节日向女友娜娜求婚，制造惊喜。 热辣的夜蒲派对以放纵奢靡的方式进行。一行七人当中，华伟挚友健明（王宗尧 饰）与娜娜（李昕岳 饰）暗生暧昧情愫。此外还有性感开朗的海滴（石咏莉 饰）、知性理智的美瑾（ 雨侨 饰）、从新加坡赶来的家杰（魏玉海 饰）、患有焦虑症的柏芝（裴殷 饰）与她的健壮勇猛男友仁宝（谷尚蔚 饰）。七人虽然是好友，但情感与利益关系也复杂的纠葛在一起……
一次偶然中，厌世的流亡作家费尔南多（Germán Jaramillo 饰）结识了名叫亚历山大（Anderson Ballesteros 饰）的年轻小伙，后者的青春与活力很快就让费尔南多放弃了轻生的念头。 然而，亚历山大出身于梅德林最贫困的地区，那是哥伦比亚罪犯们的天堂，每天，都有无数的人在那里死去，无人问津。从小在那里长大的亚历山大自然习惯了梅德林的一套生存法则，尽管这让费尔南多十分无法接受，但两人还是跨越了年龄和性别的阻碍，走到了一起。遗憾的是，一次暴力事件中，为了保护费尔南多，亚历克斯身中数枪死亡，伤心的费尔南多第一次决定用暴力解决问题，他要提自己的爱人报仇。
Dick、高潮、Jacky三人效命于塞浦路斯警队，在一次破获伪钞电版案中与MrKing结怨。 MrKing设下陷阱，使Dick与高潮被停职。Dick便回港探望前妻及其子。MrKing派人追杀Dick，又陷害高潮入狱，Jacky却被收买。Dick得知二友遇害，赶返塞浦路斯，营救高潮出狱，合力追查此案。MrKing不肯罢休，迫Jacky偷回电版。Jacky却以假的电版交给MrKing，真的电版藏在Dick的家中。Dick得悉后，决以装上炸药之电版引MrKing交出其中一个罪犯，但交换时，Jacky被押出，跟着是一连串的火并场面。
江林是一名普通的职员，不幸的是他又一次被炒鱿鱼在生活的压力下，贷了不少钱，生活无比艰辛，甚至债主追债追到家里了，一天，江林在和好朋友李兵喝酒的时候得到了意外的收获，他的生活是否因此改变？