在某街道的公園裡，春暖3位飼養可愛柴犬的大叔：春暖阿中爸爸、阿爺爸爸、幸子爸爸，他們總是聚在一起漫天閒聊，抱怨日常並順便遛著心愛的狗狗們，愛犬成痴的他們，連出門都要透過監視器與家裡的柴柴互動。某天，唯一的單身漢阿中爸爸突然對一位帶著白柴的波奇媽媽一見鍾情，阿爺和幸子爸爸決定幫兩人送作堆。但當戀愛運在柴犬的牽引下逐漸萌芽之前，他們熟悉聚會的公園竟面臨拆除的危機！他們該如何拯救這平凡生活裡的微小確幸？往後又該帶這些萌柴們往何處遛達？拯救柴公園的大冒險刻不容緩地即將展開。《柴公園》由人氣同名日劇改編，呆萌柴犬X中年大叔號召原班人狗延續逗趣風格，可愛模樣勢必讓你討饒，是絕對滿足廣大狗奴們的「柴柴專犬電影」。主人群們更由實力派卡司陣容演出，包含《愛哭鬼的棋蹟》澀川清彥、《再見溪谷》大西信滿、《原本以為只是手機掉了》櫻井友紀、《在咖啡冷掉之前》松本若菜等。本片更在日本上映後榮登yahoo電影版超過4星高分評價，被影迷們譽為愛狗人士務必進戲院朝聖，才會凡事無汪不利的療癒系「吸狗」神作。
回复 :8岁男孩卡卡聪明活泼，是一个顶尖汽车工程师，他在助手兼玩伴丁丁的帮助下，开发出了名为“K系统”的芯片。K系统可实现高智能操作，实现人车对话。第一辆下线的K1开朗爱说，很快和丁丁打成一片。卡卡并不满足，他再接再厉又开发了冷静淡定的K2和堪称接近完美的K3。未过多久，卡卡收 到了“高级智能汽车大赛”的邀请函，他信心满满，决定带着三辆宝贝车参加比赛，为此他专门为三部车定制了严苛的训练计划。比赛一天天临近，这三部个性十足的智能车会取得怎样的成绩？
回复 :主角蕾娅为我们讲述了凯布拉达斯加油站的故事，如电影般真实的情节，在巴西联邦区巴西利亚女子监狱“蜂巢”的墙壁上回响。影片融合了纪录片与剧情片的边界，由非职业演员扮演自己，拍摄于具备强烈电影感的真实环境，灯火忽明忽暗、干旱地貌让人联想起西部片的氛围，导演们坚信：当虚构的东西被剥离，留存下来最重要的，就是最真实的生活。
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
