观海苑市场的保安林家伟为救火殉职，妻子宋红霞将赔偿金用以还债后，独自承担起家庭重担。在火灾责任人杨正德坦白火灾真相后，大度地原谅了他……

　　　　本片讲述了一名被收养的弃婴，与朴实善良的养父母以及后来收养的脑瘫弟弟，相濡以沫的温情故事……

　　豫剧《程婴救孤》来一段源于春秋时期“赵氏孤儿”故事，二千多年来在我国广为流传。元朝时被搬上了舞台，直到现在，京剧和其它地方剧种仍在上演《赵氏孤儿》，经久不衰。2001年，河南省豫剧二团将这一传奇故事改编排演成大型古装豫剧《程婴救孤》，该剧创排以来，先后在河南、北京、上海等七省市演出400多场，被戏曲评论界称为“一部伟大的悲剧”，近年来先后荣获国家文华大奖、第七届中国艺术节观众最喜爱的剧目、国家十大精品剧目和中宣部五个一工程奖优秀戏曲剧目。　　为将这一经典豫剧搬上银幕，满足更多戏曲爱好者的欣赏愿望，河南影视集团和河南省豫剧二团联袂合作，用现代电影理念和豫剧特有的艺术手法重新打造该剧，以求得电影艺术与戏曲艺术的完美结合，该片由河影集团朱赵伟任导演，河南省艺术研究院张平任执行导演，豫剧表演艺术家李树建担纲主演。为使该剧更适应电影艺术的表现要求，剧组创作人员从舞美设计、服装道具、拍摄手法等方面大胆革新，以大写意的美术设计方式代替了过于陈旧琐碎的美术设计，突出表现程婴等人物内心的感情宣泄，内容上保留并强化了程婴在危急时刻表现出来的“忠义”和牺牲精神，同时又赋予这种传统的“忠义”以新的内涵：程婴为救孤忍辱负重，不仅仅是忠君，更是为正义，为民族的命运，也为了自己心中的信仰。剧中程婴的扮演者李树建，通过“沉入人物内心世界”的表演，将主人公在正义与邪恶的较量中所展现出的人性光辉塑造得淋漓尽致。最后一反传统豫剧大团圆的欢喜结局，以程婴之死诠释了“悲剧是把人生有价值的东西撕碎了给人看”的命题，较之以往的传统正剧有了更深的思想意义与内涵。

　　《变形计》是由芒果TV独家自制的纪实类栏目，禀承湖南卫视《变形计》“换位思考”这一理念，而且更推至极致。在节目中，参与者不仅要站在对方立场去设想和理解对方，还要去过对方的生活，真正体验对方世界的大小风云，品察对方思想最微妙的情绪触动。

由正午阳光独家发起、腾讯视频独家呈现的第二届“光合”影视人才圆梦计划，历经一年零八个月的精心打磨，终于得以和观众见面。1658份创意的激烈角逐，12支团队的倾力创作，终于在春暖花开之际，为您带来8部风格鲜明的诚意之作。这些10-30分钟的短片，如同8只萤火，虽然不比星辰璀璨，难抵火焰炙热，却也努力地散发着自己的光，在亲情、犯罪、武侠、喜剧等类型中留下痕迹。 这一次，镜头在更粗粝的生活褶皱里对焦：不一定需要宏大的叙事，精简的故事里也能给人灵魂的震颤——一个眼神、一道伤痕、一个欲言又止的转身。这些光芒虽然微弱，却足够照亮某一双眼睛。当屏幕亮起时，我们会看见光从哪里来。从那些被忽视的角落里，从时代洪流中倔强生长的故事里。

　　《抽象：设计的艺术》将再次带您走入蓝图之上，了解设计的艺术、科学和哲学。本剧集深入探索了世界上最伟大的设计师的理念，展现了塑造文化和未来的一系列学科的最鼓舞人心的愿景。　　《抽象》由斯科特·达迪奇、摩根·内维尔、戴夫·奥康纳、贾斯汀·威尔克斯和乔恩·凯曼担任监制，RadicalMedia 与 Tremolo Productions 和 Godfrey Dadich Partners 联合制作。　　媒体联系信息

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

　　1930年代，上海。神偷包德（淳于珊珊 饰）大名鼎鼎，疾恶如仇，他收养了一批无家可归的孤儿。一日，包德用窃来的伪钞到赌场赚取大把美钞，朱督察（安瑞云 饰）发觉后命巡捕辑拿包德。法庭上，大律师夏炳运（周里京 饰）为包德作无罪辩护，包德得以当庭释放。后夏炳运出任赈灾委员会主席，妄图独吞赈灾款200万元，并栽赃包德，不明就里的法庭判处包德50年徒刑。夏的同伙李三（计春华 饰）趁机骗走包所收养的孤儿，训练他们做小偷。包德幸而被夏的女儿嘉惠（剧雪 饰）相帮逃出牢笼，他救出被骗的孤儿，同时也获取了夏炳运的罪证。夏炳运夫妇荒乱中将赃物扔进了粥锅，包德见状，心生一计......

　　在一次打击制毒贩毒的行动中，某市刑警副队长洪剑阳（赵小锐 饰）击毙毒枭张宝亮，却由此为自己的命运埋下祸根。张宝亮的对手熊哥趁机扩大地盘，而张的弟弟张宝民则对洪剑阳恨之入骨。因伤未能参加行动的京刑警队长肖强（陈刚 饰）从线人处得知毒品交易的线索，谁知好哥们洪剑阳竟一步步走入张宝民设下的陷阱。洪接连遭到暗算，之后更成为枪杀张宝民左膀右臂的贩毒头目老胖的凶手。这位曾经的打黑英雄虎落平阳，被隔离审查。而出院后的肖强自然觉出期间的蹊跷，为了帮好友洗脱罪名，他必须想方设法周旋在各种黑势力中间，尽快还洪剑阳以清白……