玛努埃拉（丝莉亚 洛芙 饰）的丈夫在儿子出生前就离开了妻子，玛努埃拉成为了单身妈妈，带着儿子埃斯特班来到马德里生活。儿子从不知道爸爸的事情，玛努埃拉只好对儿子说父亲已经过世。然而，儿子终究不相信。他在日记本里悄悄写下对父亲的想念。 车祸来得那么突然，儿子被一辆迎面撞来的汽车夺走了生命。母亲悲伤不已，决定去找孩子的父亲洛拉，完成儿子心愿。然而她却得知，洛拉已经换装成女人，当了妓女，而且染上了艾滋病。更不幸的是，修女罗萨（佩内洛普 饰）怀上了洛拉的孩子。玛努埃拉留在罗萨身边照顾她，罗萨诞下的婴儿也取自己儿子埃斯特班的名字，苦难的日子终于有了希望--这个新生儿竟然逃过了艾滋的噩运。
日本将翻拍[那些年，我们一起追的女孩]。导演为长谷川康夫，男主角山田裕贵，曾在古川雄辉版《一吻定情》中饰演阿金。女主角则是乃木坂46的斋藤飞鸟。影片预计2018年秋天日本上映。
ACE是一个普通学校的新生，就像任何其他的新同学一样。直到他96岁的祖父去世，留给ACE一只狗让他照顾。ACE很快发现，这是一只会同他说英文的吸血鬼狗狗。疯狂的科学家沃霍尔博士和她装模作样的助手弗兰克。尝试捕捉吸血鬼狗狗，窃取他的DNA，开发最新的抗衰老技术。 ACE必须保护爷爷留下的狗狗，并和它成为了最好的朋友。
对于这个世界闻名的丑角三人组来说，没有任何一种艺术形式是神圣的。他们对侦探片也狠狠地嘲弄了一番：他们揭穿了店主的欺诈行为并以自己独特的方式将商店整理得焕然一新……和几乎所有的马克斯三兄弟的电影一样，情节只充当一根将所有单个场面串联起来的绳子。这座巨大的商店有着数不清的科室、规章条款、各式各样的人以及奇特的行事方式，这一切都给予了三兄弟足够的空间来传播她们恶毒的、毁灭性的幽默。
空气中弥漫着春天的气息，帕克、爱勒和克里斯应邀到卡尔斯库加参加婚礼。婚礼前一天，准新娘到花店挑选捧花山谷百合，但却一去不返。新娘的尸体在家门口被发现，手握一束山谷百合。所有接近过新娘的人都成了怀疑对象，刚刚和克里斯相爱的新娘闺蜜也不例外。貌似每个人都隐藏了什么，但能从中破解谋杀的真相吗？
Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.
