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民国初年，某地五湖镇，涂山门掌门黄风大仙，因私仇而施法，驱动邪异蝗灾，攻打青鸾门及所在城镇。青鸾门祭起法器抵御遭人破坏，为救阖城百姓，青鸾门当代传人被迫自尽以求重伤黄风，留下一子赵四海。 数年后，以私家侦探身份隐居的赵四海，卷入一起少女失踪案。探查中，赵四海找到曾经青梅竹马、大难中失散的女孩锦云，结识为调查少女连环失踪案而来的警官杜宇。 三人堪破重重迷雾，找出幕后黑手。当赵四海直面凶手的一刻，发现被揭开的不仅仅是无辜少女死亡的真相，还有一段本应被时光尘封的爱恨情仇。 当年那场看似简单的仇杀，背后竟有重重隐情，仇人身份也显得错综复杂，机缘巧合之下重得青鸾门功法奥义的赵四海，以自身为鼎炉，请来天庭正神“救下”仇人。 终究，一切恩仇都要经过善恶的考验，赵四海得以做出无愧自己本心的选择。

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南州交通大学文化产业管理系大一新生白宇，误闯文学院辩论社选拔现场，阴差阳错地与欢喜冤家易小曦、孙晴等人加入了沉寂多年的文学院辩论社。梦想夺取全国高校辩论赛冠军的大四学姐耿婷婷，在这支队伍身上看到了最后的希望。然而团委唐老师突然要收回辩论社训练教室，为保住训练室，婷婷签下生死状：队伍须杀入校内赛决赛。然而，一群刚入学的菜鸟辩手们，既严重缺乏辩论知识与技巧，又面临着性格不同亟待磨合等问题。一番磨砺后，这支队伍慢慢体会到了辩论的乐趣和团队的力量。一番激烈厮杀后，他们竟出人意料地晋级半决赛，最终以微弱优势战胜政法学院，成为校内辩论赛冠军。大一结束，队员们送别了毕业的耿婷婷。辩论伴随着他们这一年的成长，也让他们开始明白大学的真正价值和意义。

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第35届青岛国际啤酒节“英太青・新必奇”酒王争霸赛沈阳赛区圆满结束

Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

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