本作は1960年代前半の東京を舞台に、まだ何者でもない“少年ルパン”が高度経済成長期の日本を駆け巡るオリジナルストーリー。アニメーションでルパンの少年期が描かれるのは今回が初めてだ。原作者のモンキー・パンチが描いた少年期（ジャリルパン）からヒントを得る形で、13歳の中学生がいかにして大泥棒ルパン三世となったのかという始まりの物語が全6話で紡がれる。
焦娇（汤唯 饰）15岁就来到了澳门，过着颠沛流离的生活，之后成为了赌场公关。罗大牛（吴秀波 饰）早年来到美国，一番摸爬滚打，如今已经是小有名气的加州房地产经纪人，事业一帆风顺的他在情场上自然步步为赢，是公认的钻石王老五。 一本名为《查令十字街84号》的书让这一对生活毫无交集的男女走到了一起，两人通过电子邮件进行交往，透过种种误会和波折，最终发现彼此是自己的灵魂伴侣。在此期间，焦娇徘徊在郑义（陆毅 饰）、邓先生（王志文 饰）和诗人（祖峰 饰）之间不知何去何从，而罗大牛则在同华裔老夫妻林平生（秦沛 饰）和唐秀懿（吴彦姝 饰）的交往当中逐渐发现了人生的道义。
1960年代香港赌博风行，其中一个派系是以老千技术闻名的“千门八将”。成员龙四（郑则仕饰）在一次大肆出手之后，其大师兄庞峰（秦沛饰）因着间接害死亲弟的同门恩怨，与华探长文雄（汤镇业饰）设局陷害他入狱，女友百合（张慧仪饰）更被文雄抢去。五年后，龙四出狱适逢香港电影发展迅速，进入片场耕耘下成为地位崇高的制片，有舒奇（蔡瀚亿饰）、麦基（吴业坤饰）两位得力助手，还有一个刚相认的女儿小雨（王子涵饰）。好景不常，助手们开始要独力面对片场中各种争斗和感情关系，而同门师弟妹相继出事和反目，亦使龙四无法独善其身，在“东方荷里活”上演无数场的“千门事，千门了”……
世界最强的间谍，世界最高的骗局！阳炎宫·共同生活的规则：七个人共同生活、外出的时候要认真的玩、用一切手段打倒我。各国展开间谍“影之战争”的世界。任务成功率100%，但是性格有困难的精明间谍·克劳斯，创立了挑战死亡率超过九成的“不可能任务”的机关——灯。但是，被选出的成员是没有实践经验的7位少女。毒杀、陷阱、色诱——为了完成任务，少女们唯一留下的手段就是互相欺骗克劳斯，战胜敌人！？
民国期间，周团长攀附权贵，与即将成婚的评弹名伶程小蝶（秦雪 饰）不辞而别，此时程小蝶已有身孕，当她生下孩子后才知道，周团长早已娶了司令家的千金，悲痛欲绝的程小蝶穿着周团长送给她的红旗袍，三尺白绫上吊自尽。 这件红旗袍流传下来，在当代人王泽亚（王良 饰）和夏雪（洪辰 饰）以及雅茹（秦雪 饰 ）之间发生了一系列不可思议的恐怖悬疑事件，应验了红旗袍的诅咒。
《Larva》是一部出自韩国的可爱的红和黄幼虫的幽默搞笑短片动画，共104集。其中主角是“红”和“黄”。两个低贱搞怪的Larva 幼虫，红色和黄色和一群不太友好的伙伴，在一个下水道跟着人们不注意生活。在这个秘密的地方，他们津津乐道的事情是，人们有时会扔进下水道，像嚼泡泡糖，冰淇淋融化，硬币，戒指等东西。
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.
23岁的真琴，不善于与人交往，一直都很孤独。一天，在从车站回家的途中，什么人突然袭击了她。等到睁开眼睛，发现自己被绑住倒在床上。袭击她的是车站的清扫员，被告知想要永远和她在一起。从此，在距离车站很近的清扫物品储藏室了，开始了被监禁的生活。一度尝试要逃走，可是被这个男子抓了回来
安安是一名努力认真的替身演员，也是异能学府的新生，青春洋溢在脸上，20岁的花季让她对这个世界充满了憧憬。来到新的学校遇到特别的教授，好奇的安安挑战一切未知，在安安身上上演着一幕幕搞笑、惊险、奇特又温情的故事......