9.0 汉语普通话 · 2026 · 中国大陆 · 连续剧
钟丽丽 / 刘旭威 / 薛八一 / 杨雪 / 贺刚 / 黄雯 / 徐轸轸 / 卢杰君 / 欧靖枭 / 赵紫彤 / 李雨桥 / 郭芷铭 / 李彦漫 / 郭东兴 / 殷诺 / 贺正源
异域时空，风神飞廉与凶神混沌缠斗千年，以神落败。本体乃是镇守人界与无域界的神石，被风神劈成两块，从此人间出现时空裂痕,妖怪祸乱人间。“神石化身”的上官紫嫣阴阳逆转，竟变成了男儿身。为了重回无域界，上官紫嫣与禁欲小道士元初携手，利用男儿身，加入元真门，一同官封九品猎妖官,封妖补天。两人各怀心思开始了猎妖之路，与此同时，一场阴谋也相继展开……
8.0 国语 · 2025 · 大陆 · 抖音短剧
郑繁星,吴翎薇,罗予甜,夜逸,苏尔,宋佳音,欧靖枭
故事开始于两万年前的欧洲北部，彼时正直冰川时期，科达（科迪·斯密特-麦菲Kodi Smit-McPhee 饰）是部落首领的儿子，在一次集体狩猎行动中，他不幸跌落了悬崖，音信全无。所有人都以为科达已经死了，但不幸中的万幸是，洪水卷走了他，使得他保住了一命，然而，水流将科达送往了离部落非常遥远的漫漫荒野之中，在异常恶劣的天气和极度匮乏的资源的威胁下，科达踏上了归家之旅。 在旅途中，科达和一匹孤狼邂逅了，狼成为了他的旅伴，他给它起名为阿尔法。阿尔法是狼群的首领，在和阿尔法的相处之中，科达学习到了许多在荒野之中生存的技巧，同时也被唤醒了内心的狼性。
7.0 国语 · 2025 · 大陆 · 连续剧
郑繁星,吴翎薇,罗予甜,夜逸,苏尔,宋佳音,欧靖枭
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.