泰剧《名门绅士2：淑女之心》是泰国三台庆祝电视台成立52周年的项目。讲述名门绅士五部曲五大少的后代们的爱情故事（大少2个孩子，二少1个孩子，三少2个孩子，四少2个孩子，五少4个孩子）。续作依然是由五部曲组成，分别由五家公司进行制作。每部预计12-15集，每集约80分钟。Kwantuetai#ขวัญฤทัยNoproblemCompany制作三少儿子身为军队医生少校，邂逅了第一部里爱三少而不得的Marathee的女儿，如今她只是普通平民......

年轻貌美的护士付二代确诊患了尿毒症，急需换肾，家里人却配不上型。姐夫王元鹅建议，在抗癌微信群里试一试征婚，如果生前给予男方很好地照顾，丈夫死后捐肾给妻子合理又合法。保险业务精英朱保培身患白血病，而且骨髓捐赠手术失败。两个命运相似的年轻人，意外地相撞在一起，开始了靓女帅哥人生第一次、也可能是唯一一次的谈情说爱。

《偷窥女人心》讲述了一个摄影师杨平，与五个女孩之间发生的不同情感故事。融合了爱情、穿越、武打等元素。杨平童年时期偶遇了一个小女孩，但是没过多久，由于小女孩家庭移居到了国外，杨平再也没有见过这个小女孩。从此杨平不再拍摄女人，每次都是拍摄风景，性格也变得不那么容易接近，对女人尤其的冷漠，直到一次在工作中意外，在一个神秘的相机店租了一台胶片机，却获得了能够偷窥到他人世界的能力，杨平穿越到了外表光鲜亮丽明星、正直的律师、努力拼搏的书店管理员和缺少关注的明星助理四个女人的世界，他发现每个女人的背后都有一个不为人知的秘密。不过一次杨平偶然机会通过朋友认识了吴美雯，一个可以说是白富美的女人，由于经商造成了吴美雯表面上很世俗，但是杨平始终没有穿越到吴美雯的世界里，但是他们彼此已有好感，最终巧合的发现原来吴美雯就是当年的小女孩。偷窥了不同的女人后，杨平感觉到了偷窥的疲惫，他逐渐的厌倦了这种生活，当他想要去还相机的时候，更为奇怪的事情发生了，店主却说这台相机是他自己的东西，可是当年的那台相机已经被他扔进了大海。最终杨平也终于放下了自己的欲望，终于做了自己想做的事，爱了自己想爱的人！

A group of young friends as they come of age and strive to meet the unexpected demands of adult life...

真人剧集《神推偶像登上武道馆我就死而无憾》官宣剧场版制作决定！

该剧由动漫《王爷不要啊》改编，讲述了北宣资王李谦（方逸伦 饰）和汐月公主李明月（凌美仕 饰）被迫和亲，互看不顺眼的两人在一起经历各种磨难后打开了自己的心防，最终修成正果携手一生。

男主的妈妈被爸爸的新欢赶出家门然后死掉了。20年后，男主改名换姓，回到泰国对那个女人进行报复。所以男主开始勾引女主，女主此时为男主爸爸领养的女孩，但是却没想到，他对她有了不一样的想法... 2020年...

刘伟立与宛芬夫妻恩爱. 芬贪慕虚荣, 得知立快升任副理, 便粉饰家居, 分期付款购买电器及家具. 为了升职一事, 夫妇俩不惜大拍董事长一家马屁. 结果, 副理由董事长儿子担任, 立、芬只好眼巴巴看家里一切给债主搬走. （来源：香港电影资料馆）

The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.