The film begins with an episode in 1279 AD, when the successor of the last great Chola Emperor, pending invasion, sends his people to a mystery location, to survive the threat. The story resumes with an archaeologist, a coolie and a member of the army going in search of the archaeologist's father to the ruined city that was the place the exiled Chola Prince retreated to. An expedition is promptly arranged, and on the course they stumble on the lost Chola civilization and its king and find unexplained links between them and the culture. The shocking events and the problems that arise forms the crux of the story.

Hercules, a war prisoner by Rome, proves his valor in the arena, becomes a gladiator trainer, conquers the women's hearts and the men's envy, and saves Rome from a political plot to a usurper to occupy the throne.

年轻的肖尔东热爱跑步。但从小到大，认为跑步和(hé )马拉松不(bú )能当做(♋)人生职业的父(🚩)亲肖大明，却一(💚)直逼(🌡)着他学音乐(🗝)，并尽一切方法阻(📝)止他跑步。倔强的肖尔东一心坚持自己的梦(mèng )想，在(👾)好友方墩(dūn )等人的(💀)帮助下，一直偷偷(tōu )跟随校队教练夏露训练，并参加各种马(🔄)拉松比赛。造化弄人(👶)(rén )，当肖尔东即将参加梦想中的马拉松锦标赛时，意外发生了......

由于经(jīng )济危机的影响，玛尔塔一家已经面临着极(🌍)其严峻(jun4 )的情况。她的母亲是一名工人，因为父亲没有工作，而玛(🐐)尔塔正在上学，所以全家人的重担全(🤢)部(🌰)落在了母亲的身上。母亲早出晚(🗞)归，承担着一家人的开支。而父亲马里奥却在多(duō )次找工作未果之后，开始对这个悲惨的境地和惨淡的人生(shēng )开始产生了绝望，然而经济危机(jī )对于(🚈)玛尔塔来说，却并...

温斯延轻(qīng )笑了一声，道：你脸上是没写‘容隽’，不(bú )过写了‘红粉霏霏’这几个字。

悠崽(zǎi )，哥哥没有骗你，他还提前回来了，你们不要闹别扭了好不(bú(🎬) )好？

Everett和Miles七年的伴侣(lǚ )生活已经演变成为帕拉图(🎤)式的习惯(⛪)，只有他们共同抚养的儿子成为他们(🥡)(men )之(zhī )间关系的羁绊(🏼)。直至有一天，Miles和他们的儿子外出旅行，内向的Everett终于(🐒)有(💤)了自己的独处时光，却在家门口遇上(🌾)了Chase： 一位无与伦比英俊的旅行作家，于是一切即将改变......

In Bettina Büttner’s exquisitely lucid documentary Kinder (Kids), childhood dysfunction, loneliness, and pent-up emotion run wild at an all-boys group home in southern Germany. The children interned here include ten-year-olds Marvin and Tommy. Marvin, fiddling with a mini plastic Lego sword, explains matter-of-factly to the camera, “This is a knife. You use it to cut stomachs open.” Dennis, who is even younger, is seen in a hysteric fit, mimicking some pornographic scene. Boys will be boys, but innocence is disproportionately spare here. Choosing not to dwell on the harsh specifics, Büttner reveals the disconcerting manner in which traumatic episodes can manifest themselves in the mundane — a game of Lego, Hide and Seek, or Truth or Dare. Filmed in lapidary black-and-white, Büttner’s fascinating film sheds light on childhood from the boys’(🦇) characteristically disadvantaged perspective — one not yet fully cognizant — leaving much ethically to ponder over

蒋慕(mù )沉顿了顿，垂(chuí )眸看着面前的小(xiǎo )姑娘：(🎡)过来一下。