杰克（艾迪·墨菲 Eddie Murphy 饰）有一张刀子嘴，为了达到目的，他什么样的话都能说得出口。因为这张嘴，他失去了许多的朋友却并不以为意。一日，杰克的诳语得罪了辛加博士（克利夫·柯蒂斯 Cliff Curtis 饰)——一位神秘的宗教领袖，为了让杰克明白自己的缺点，他召唤来了一颗菩提树。 辛加告诉杰克，菩提树上有一千片叶子，杰克每说一个单词，就会有一片树叶凋落，当树叶掉光之时，就是杰克的临终之日。突然被剥夺了自由说话的权利的杰克痛苦不已，失去语言的庇护反而让杰克懂得了“谨言慎行”的真正含义，随着时间的流逝，杰克也开始明白，有些话不能乱说，可是有些话却不能不说。

《千言慢煮》是一档明星美食综艺节目，一季共有7集，每一集平均时长约15-20分钟。每一集设定一个主题，艺人杨千嬅将邀请1-2位明星嘉宾到她的私人厨房，量身订造一道适合主题的美味，分享美食的同时，一边煮一边谈天说地，探讨生活中有趣的人和事。

千言勿语讲述了一个关于兄弟情和背叛的故事。 故事以相差七岁的兄弟俩Derek和Jeremiah的团聚作为序幕，讲述了兄弟俩在对待他们各自同性恋的身份认同上，采取的两种截然不同的方式。

何以晴在新婚当天出了一场车祸，送医急救后暂时失去了说话的能力，其夫纪人杰为筹措医药费，挪用母亲的存款，使得纪母对以晴不满，而人杰见以晴病情未好转也日渐疏远冷澹以晴。 以晴学会手语在好友吴晓芬的花店帮忙因此结识了某公司的总经理李子群，子群虽已有女友孙如媚但因以晴与其往日女友神似而动心不己。一日，人杰带以晴参加公司的聚会，以晴因紧张弄巧成拙，闹了笑话，得罪了客户，人杰当场拂抽而去，人杰的长官如媚以高明的技巧解决此事，人杰对如媚产生好感。 如媚欲与子群结婚，子群不答应，如媚知子群爱上以晴，为报复以晴并为肚里孩子找个现成的爹而百般讨好人杰，终造成 人杰与以晴离婚，如媚顺利的嫁给人杰．如媚婚后行为霸道，纪家砲火连连，尤其是人杰弟人威与她更水火不相容，人威为报复如媚未善待其母而偷偷抱走姪儿小杰，却被结有仇恨的黑道人物阿豹劫走，并勒索一千万，为救孩子如媚将事实真像告诉子群与人杰，人杰气愤下失手杀死如媚被判坐牢，以晴在不但恢复说话能力且在人杰真情感动下决定与子群共同抚养小杰。

影片以苏凤（李丽珍饰）失忆开始倒叙，她在街上闲荡，身边的李绍东（李康生饰）努力帮她寻找记忆，不幸的是她能记起的，全是一些不愉快的往事。苏凤自幼生活在艇上，因为偷了绍东的钱包而与之结交。避风塘发生大火，家园烧毁，自始苏凤与年迈的爷爷相依为命。绍东因为不满母亲经营妓院，离家出走。从七十年代初开始，天主教意大利籍神父甘仔（黄秋生）和热心分子大学生阿宽（谢君豪）支持艇户上岸居住，深入艇户，发动艇户与港英政府斗争。甘仔爱看《毛主席语录》，为水上新娘、为刘山青四出奔波以至于进行绝食。大学时，作为义工的邱明宽，是苏凤的白马王子。街头表演者（莫照如饰）讲述当年非主流政治环境。区议员邱明宽，七十年代末搞社会运动帮助艇户上岸，到为艇户的无证妈妈争取人道处理，描述了他的私心和政治野心。邱后与相恋多年的女友结婚，失望的苏凤开始纠缠邱。苏凤怀了邱的孩子，绍东陪她到深圳堕胎，苏回港向邱提出分手，邱答应。后来邱明宽看到自己政治前途仅局限于一隅，于是心生种种愤恼，决意加入建制跟随游戏规则。失意的邱明宽要求与苏凤有越轨行为，苏毅然拒绝。失常的苏走在街上被车撞倒┅

A young man riding the Metro in Los Angeles notices a young woman looking through her digital camera. They exchange glances, then she gets off the train, carrying a box of plants. As the train pulls away, he notices she has left the camera. Later that day, he looks through the photographs and can see that she's left her job and is moving to Boston. He also sees that she's taken five or six photographs of him seated on the train. Her going away cake has her first name on it, and in one of the photos, she's leaning out an apartment building. Can he figure out where she lived and find her? Written by <jhailey@hotmail.com>

讲述林深与苏棠因艺术梦想结缘，共创画廊并相恋。后林深忙于工作忽略苏棠，其母不满，前女友李薇回归挑拨，致苏棠生怨分手。林深醒悟后反思改变，以行动弥补。苏棠独自成长中也懂沟通重要性。最终两人天台重逢，敞开心扉，携手重建爱情与事业，心墙崩塌。

父亲临终耗尽最后力气叮嘱沈清禾，切莫轻信任何人，尤其提防舅舅。紧随其后，四百八十二万工伤赔偿金如期到账，谨记父言的她秘而不宣，将全款存为三年定期死守钱款。可父亲尸骨未寒，贪婪的舅舅一家便借机逼她出钱买房，就连亲生母亲也偷取证件、起诉争产。绝境之中沈清禾步步设防、强势反击，意外查到一张两百万的隐秘收据，彻底撕开了父亲意外坠亡背后，被至亲刻意掩盖的惊天阴谋。

''Your lungs are about as bad as they can get,'' the nurse explains to the 83-year-old man. ''Your lungs aren't going to get better, and so the act of putting you on the machine is almost a futile effort.'' In a long conversation, the nurse lets this patient know what his options are and tries to determine his wishes, as kindly as possible but with the suggestion that she has done this many times before. ''I want to help you, but I only want to help you in the manner in which you want to be helped,'' she says. ''I don't want to keep you alive unless you like living.'' A half-dozen young medical professionals gather around the bed of an old woman, a stroke victim who cannot speak and can communicate only by means of the faintest movements. They want to discuss the possibility of removing her breathing tube and the machine to which it is connected. Does she understand what the consequences of this may be? Is she prepared for the worst? Is she worried about the way her death may affect her devoted husband? The woman attempts to answer this barrage of difficult questions by weakly signaling yes or no, but she is soon exhausted. She indicates that she would like the conversation to stop. A semiconscious man who will die within a matter of days is being groomed by a slightly impatient young nurse. He looks momentarily startled as she adjusts his head so that he can be shaved. It looks as if moving the tubes attached to his face is slightly painful. It's hard to tell. The man gives the nurse one more startled look as she perfunctorily runs a comb through his hair. In a room filled with medical machinery, the line on a monitor goes flat. A nurse stands by, still holding the patient's hand. A doctor touches the patient efficiently, then checks for breath from her open mouth. ''Okay, she's dead,'' he says. ''7:53.'' These are the unforgettably sobering sights and sounds of ''Near Death,'' Frederick Wiseman's great, fearless and monumental six-hour documentary chronicling the workings of the medical intensive care unit at Boston's Beth Israel Hospital. They are the sorts of images that become grimly commonplace during the course of a film that is less a viewing experience than a total immersion. It isn't the running time that makes ''Near Death'' so overwhelming; it's the subject itself. But at this length, the film has time to carry its audience from an initially raw emotional response to a calmer consideration of the difficult issues raised here, and finally on to some sort of resolution. It is Mr. Wiseman's method to make himself an extremely attentive fly on the wall, observing long exchanges between doctors and patients, doctors and family members, and among the various members of the unit's medical staff. This particular intensive care unit is not a place for emergency surgery or for treating sudden illnesses; it's a place offering medically sophisticated treatment to people whose final days mark the last stage of slow, agonizing decline. Everyone the camera observes has spent time watching life erode and has had extensive experience with debilitating pain. One of the doctors has a sister who practices medicine at another hospital. ''She doesn't say 'What do you think?' - she says 'You're father's dying,' '' he tells a colleague. But at this particular ward, great care is taken to talk more humanely and less abrubtly about what the terminally ill patient's prospects really are, and to try to involve patients and family members in making life-or-death decisions. This is even harder than it sounds. Patients who thought they would never want heroic measures can sometimes feel differently when their worst fears become reality; relatives who want everything possible done for their loved ones reach a point where they may feel the dying patient has been through enough. The doctors have their own perspective. Experience has inevitably touched some of them with cynicism, however hard they fight against their own pessimism. ''I really believe that from the moment that diagnosis was made - like in 'Treasure Island,' when that old captain got handed a black spot? She got handed a black spot,'' a doctor tells a colleague about one patient. ''It's not clear we have anything to offer,'' this same doctor subsequently acknowledges. ''But in this day and age, we're extremely reluctant to say 'We can't do anything for that.' '' The doctors are always first to recognize hopeless situations, and they find themselves gently trying to steer patients toward the recognition that high-tech life-prolonging efforts may be futile and self-defeating. Phrases like ''We never know the future for sure, but. . . .'' and ''a borderline situation between surviving and not surviving'' have become delicate staples of their conversation. Among themselves, the doctors talk differently; they may use less gentle euphemisms, like ''just call it a day.'' ('' 'Quality of life' is for furniture salesmen,'' one says.) For the most part, the doctors in the film are as young and energetic as their patients are weak and old, and at times it is difficult not to regard as cavalier the very hardiness that allows them to do this work at all. One of the things that emerges over six hours is an enormous appreciation of the doctors' stamina and tact. As ''Near Death'' focuses attention on questions of just where life ends and how its ending can best be handled, it flinches at nothing. It's not for the timid. Though there is no full autopsy sequence depicted here, doctors are seen studying diseased organs in a post-autopsy evaluation session; another section of the film shows exactly how nurses remove the dead from their rooms and transport them inconspicuously to the morgue. The nurses' casualness about this is at least as chilling as the process itself. And if squeamishness is not spared, neither is pure emotion. There are scenes of heartbreaking tenderness in which longtime spouses, soon to be left alone, try to comfort the people they love. The families who allowed Mr. Wiseman to film long, uninterrupted takes chronicling such private and painful moments have made an invaluable contribution. ''Near Death'' will be shown today at 11:30 as part of the New York Film Festival. Those who see it will find themselves irrevocably altered by the experience. 'We Never Know' NEAR DEATH, directed, produced and edited by Frederick Wiseman; photography by John Davey; production company, Exit Films; a Zipporah Films Release. At Alice Tully Hall, as part of the 27th New York Film Festival. Running time: 350 minutes. This film has no rating.