这日柯南、小兰一行人来到米花市市政大厅，一场有关最新游戏“茧”的发布会正在这里召开。由于迥异于以往任何一款游戏的“茧”可能一举改变全球游戏业界的价值观，发布会吸引了代表日本上流社会的政治、财经、演艺界人士，50名游戏体验者也多是他们的后代，新一的父亲、推理小说大师工藤优作由于参与故事编写，也来到现场。这边热热闹闹，游戏的研发者兼负责人坚村却被杀于地下室。坚村死前留在键盘J、T、R上的血迹令柯南想到答案可能在游戏中，他利用优作的关系加入了体验者队伍，小兰、灰原哀等人也拿到了体验入场券。　　50名体验者刚分别进入一个外型酷似蚕茧的“大型胶囊”，游戏即被自称“诺亚方舟”的人工智能控制，“诺亚方舟”称游戏将提供5个完全真实的历史场景，体验者可选择其中之一进入，被淘汰会进入休眠状态，若最后无人走到终点，他们的大脑组织皆会被摧毁，此举是为令日本社会重生。柯南一行及几个骄横无礼的上流社会公子哥进入的是19世纪伦敦的贝克街，那里杀人犯开膛手杰克正在兴风作浪，他身上正有柯南要找的答案！而优作也在现实中正对案件展开调查。

故事发生在一个充斥着传说的世界中。　　在大陆南方的位置上有一个国家名叫罗兰帝国，由于这个国家当权贵族的腐败导致百姓生活在水深火热之中。在这种情况下临危接受国王西昂命令的青年拉因那与少女菲莉斯，三个人的旅途就这么开始了。　　不过，男主角拉因那是一个超没有干劲的人，他最大的爱好居然是白天睡大觉，梦想能够建立一个白天睡觉的国家。在这种情况下他们被卷入了战争的漩涡，三位年轻人的纠葛负责的命运将会如何发展呢？拉因那的『瞳孔』中所映出的世界又是怎么样的未来？

　　《男子高中生的日常》以真田北男校为舞台，围绕着主角忠邦（入野自由 配音），以及他的死党秀则（杉田智和 配音）和吉竹（铃村健一 配音）的日常高中生活而展开。忠邦主要担任吐槽的角色，长相中性的他常常被秀则和吉竹联合欺负。登场人物还有同校学生会的元治、唐泽、副会长和会长等人，这是一群基本上没有女朋友的男校学生，在鲜有女生参与的情况下，展开了插科打诨的日常高中生活。　　这是一部搞笑向的作品，内容短小，笑点十足。动画以每集一个小故事的节奏，采用“男子高中生与XX”的标题形式，将男子高中生的爆笑日常故事呈现给观众。　　本作根据山内泰延的同名漫画《男子高中生的日常》改编而成。

　　东京峰会召开在即，为了确保会议顺利进行，日本警方出动约两万名警力对位于东京湾的超大设施“海洋边缘”进行安保工作。可就在严密的防控下，此地已然发生了爆炸案。令柯南（高山南 配音）等人始料未及的是，现场居然留下了对毛利小五郎（小山力也 配音）极其不利的证据。在此之后，小五郎 遭到逮捕。柯南则发现安室透曾出现在爆炸现场，并且负了伤。为了还毛利叔叔的清白，柯南和阿笠博士以及少年侦探团的小伙伴们联合起来勘察现场，搜集证据。随着调查的深入，柯南发现这起爆炸案隐藏着包括恐怖分子、公安在内多方的复杂关系，而真相更令所有人瞠目结舌……　　本片是“名侦探柯南系列”第22部动画剧场版，票房总收入超过90亿日元。

　　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。

　　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。

　　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。

　　故事讲述《摄影机不要停》拍完后半年，剧组准备了新桥段拍摄，30秒预告片及海报今日曝光，网剧继续运用一镜到底拍摄，还有恶梦又再重现，女主角秋山柚稀戴假发扮金发美女，饰演导演的滨津隆之在海报中睡棺材

　　故事发生在京都太秦，演员香美山（福本清三 饰）演了一辈子剑戟片，是专职饰演被杀死角色的“被杀役”，他一辈子勤勤恳恳兢兢业业，靠着努力和汗水，获得了同行和后辈们的尊重与信赖。然而香美山明白，剑戟片的没落之势早已经不可抵挡，喜爱和欣赏它的人越来越少，心中因此怀着满满的孤寂。　　某日，一位名叫伊贺五月（山本千寻 饰）的年轻女演员找到了香美山，希望他能够成为她的武术指导，被五月的热情和真诚打动，香美山答应了她的请求，就这样，两人成为了师徒。在香美山巧妙的调教之下，五月的演技突飞猛进，很快得到了观众的喜爱，职业前景一片光明。而落寞的香美山，则决定返回家乡，了此残生。

　　曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。