逍遥镇聚贤街，徐二娘和牛央鸽一对孤儿寡母相依为命，经营着亡夫留下的客栈。街上龙蛇混杂，各色江湖人你来我往，这一日，客栈再次遭遇江湖浪客的骚扰，龙城派魏文峰和血月门眼观喜因为抢座位引发口角，即将刀剑相向，徐二娘想着息事宁人，以求早日逃离是非窝，可脾气火爆的牛央鸽险些惹出更大祸端。正巧，关东门掌门李世真与徒弟李逍陆逃难至此，阴差阳错化解危机，也给母女二人各自留下深刻的印象：徐二娘看中老李的掌门身份，想把店铺盘给他，自己带上银钱与女儿远走高飞，逃离纷争之地；女儿牛央鸽被李逍陆的侠气折服，暗生情愫。母女二人为了各自的小心思分头展开行动，结果闹出一桩花田八宗错的误会，母女的计划纷纷落空，但关东门师徒二人与这对母女正式结下剪不断理还乱的羁绊。

东北古装喜剧热血回归，众多实力大咖爆笑演绎！

我想再认真地拍一次伪纪录片，于是跟和哉一起创作了《无药物》这部作品。 　　与之前一样，主人公都是电视台的采访团队，但这部作品不是恐怖片。当时，在出现多层次网状营销（传销）的社会问题之前，潜能开发培训正以可怕的速度传播开来。那时尚未出现奥姆真理教，我就打算以此作为作品的主题。 　　故事的核心构想，就是大脑分泌的麻痹物质内啡肽。人在痛苦时大脑会自动产生内啡肽，假如人可以自由操控它的分泌……我写了这样的一个故事：只要在前额植入超薄的小白金片，再进行特殊训练，学习向那里集中意识，人类就能获得终极幸福……有一个进行这种培训的团体正在悄然扩张。在故事的最后，进行采访的导演自己也接受了手术。由于这部作品汇集了优秀的演员（主演：加藤善博），最终它成了一部令我满意的伪纪录片。 　　-小中千昭《什么才是真正的恐怖》

我想再认真地拍一次伪纪录片，于是跟和哉一起创作了《无药物》这部作品。 　　与之前一样，主人公都是电视台的采访团队，但这部作品不是恐怖片。当时，在出现多层次网状营销（传销）的社会问题之前，潜能开发培训正以可怕的速度传播开来。那时尚未出现奥姆真理教，我就打算以此作为作品的主题。 　　故事的核心构想，就是大脑分泌的麻痹物质内啡肽。人在痛苦时大脑会自动产生内啡肽，假如人可以自由操控它的分泌……我写了这样的一个故事：只要在前额植入超薄的小白金片，再进行特殊训练，学习向那里集中意识，人类就能获得终极幸福……有一个进行这种培训的团体正在悄然扩张。在故事的最后，进行采访的导演自己也接受了手术。由于这部作品汇集了优秀的演员（主演：加藤善博），最终它成了一部令我满意的伪纪录片。 　　-小中千昭《什么才是真正的恐怖》

Set in Warsaw, the film loosely follows the character of an orphaned Vietnamese child who grows up to be absorbed into a dance group inspired by South Korean pop music. Widely popular within Polish youth subculture, K-pop is used by the artist as a vernacular material to trace a relationship between Eastern Europe and Asia with roots in Cold War allegiances. This dichotomy is further complicated by the significant Vietnamese diaspora currently living in Poland, composed of Northerners who migrated before the fall of the Iron Curtain, and Southerners who came in the aftermath of the Vietnam War. Nguyen traces how these layered inner conflicts are reckoned with inside the process of finding shared symbols and naming oneself from within another’s regime. 　　Assembling a crew of teenaged Polish dancers who perform original choreography set to music and lyrics co-written by the artist, she looks at both the exaltation and erasure of personal traumas at play in the process of representation, identity building, and the formation of a shared nation space. The melodramatic pull of the spectacle is disrupted by the voice-over, culled from various and often contradictory writings on revolution by Ulrike Meinhof, Hannah Arendt, Mao Zedong, and others.

Set in Warsaw, the film loosely follows the character of an orphaned Vietnamese child who grows up to be absorbed into a dance group inspired by South Korean pop music. Widely popular within Polish youth subculture, K-pop is used by the artist as a vernacular material to trace a relationship between Eastern Europe and Asia with roots in Cold War allegiances. This dichotomy is further complicated by the significant Vietnamese diaspora currently living in Poland, composed of Northerners who migrated before the fall of the Iron Curtain, and Southerners who came in the aftermath of the Vietnam War. Nguyen traces how these layered inner conflicts are reckoned with inside the process of finding shared symbols and naming oneself from within another’s regime. 　　Assembling a crew of teenaged Polish dancers who perform original choreography set to music and lyrics co-written by the artist, she looks at both the exaltation and erasure of personal traumas at play in the process of representation, identity building, and the formation of a shared nation space. The melodramatic pull of the spectacle is disrupted by the voice-over, culled from various and often contradictory writings on revolution by Ulrike Meinhof, Hannah Arendt, Mao Zedong, and others.

为摆脱病娇男友郁天冬的掌控，南星砍掉了他的手指。两年后，自以为成功逃离了郁天冬魔爪的南星，却在新婚当天发现他“死而复生”。抢婚、囚禁、抵死纠缠，郁天冬疯狂的爱，让南星婚姻破碎事业受创。可就在南星成功逃离时，却发现自己对郁天冬早已越陷越深。

患上中二病也要追求梦想. 韩哲梦想成为韩国的吉米亨德里克斯， 他认为音乐才是拯救自己的真理， 打算加入校园摇滚乐队但惨遭拒绝， 他认为自己缺少的是一…

在45Ea年的Y国，人类社会压力空前，部分人因此觉醒了等级不同种类各异的超能力。 然而使用这些超能力也需付出一些代价，甚至会造成不可预估的伤害。因此对很多人而言，超能力是一种病。个别天赋异禀的人创办的消除所就是超能力患者的救赎地。超能力消除者金泽是个脑回路清奇的奇葩废柴，他与冷静靠谱的助手秦络一共同经营一家消除所，神力使者郝壮壮加入后，三人联手，不断解决各种或奇特或搞笑或温暖的超能力事件…