《云间回响》以山歌文化传承为背景，讲述了段一鸣与杨小冉因一场逃婚风波结怨，从互相敌视、立下赌约，到因比赛被迫联手，渐生情愫，联合伙伴摒弃前嫌，共同改编《云间回响》，唤醒村民对共同文化根脉的珍视，最终揭露对手卑劣手段，促成两姓和解。

现代社畜云窈窈意外穿书，成为书中同名痴傻嫡女，遭继妹云烟烟设计陷害，误入禁地刺杀暴君涂山烬。危急时刻，两人意外灵魂互换，自此开启错位人生。娇弱闺秀体内住进冷面帝王，九五之尊的躯壳里却装着现代打工人。云窈窈（魂在帝身）朝堂智斗贪官、化解财政危机；涂山烬（魂在女身）被迫应对侍寝、生理期等女性日常，笑料百出。相处中，两人发现亲密接触可触发换身，暧昧拉扯不断升级。他们联手粉碎泽王散播 “绝嗣散” 的阴谋、秋猎化解暗杀，更设计诱反泽王，最终平定叛乱。从互相拿捏到情根深种，错位帝后终打破宿命，成就一世一双人的绝美爱恋。

雨夜，三岁半的小眠眠抱着兔子玩偶独自前往傅家，找到傅临川讨要奶粉钱，并拿出医院单据证明亲缘。亲子鉴定证实二人父女关系，众人拆开兔子玩偶，发现藏在里面的录音笔，多年深藏的误会与隐情随之揭开。平日性情冰冷的傅临川、严厉的傅老爷子、沉默少语的小叔，尽数褪去冷漠，一心宠溺呵护小眠眠。一家人查清当年所有纠葛，驱散过往阴霾，为孩子筑造安稳温暖的港湾。

西江市女警冉咚咚在庙前街小超市击毙了挟持人质的歹徒，虽然受到了赞扬但对第一次射击真人的冉咚咚还是很大冲击，回到家丈夫慕达夫对她击毙歹徒的行为有些疑问引起了冉咚咚的反感。西江市发生了一起命案，钓友在江边发现一具女尸，警队开始调查被害人的身份，并将案件取名为“大坑案”。

回南天的日子里，小姜总是重复梦到一扇门。一开始，它只在夜晚的梦里出现，后来连午间小憩都能看见，以至于闭眼即会浮现它的样子。这个特别的梦一度让她无法安眠，药物虽然使她正常的入睡，但那扇门在梦中依旧清晰地伫立在她的眼前。慢慢的，小姜开始好奇这扇门的由来，它总不是无端入梦，或许会有些特别的缘由。于是每梦见一次，她就会把这扇门画下来，一个月以后，这扇门已经十分清晰地显现在手帐本上了…

在剧集项目《回响 Echo》中，由 JJ Bailey 编剧。故事里，一组罪案调查人员会被送回过去，附身到尚未去世的受害人身上。此后，他们必须与时间赛跑，阻止罪案的发生。

通过伽罗诗人兰彻，电影试图探寻一个诗人没有可用于书写的语言时会有怎样的感受。

The title says it all. The movements in this black-and-white animation are governed by an echo. The flow of images creates a chain of associations. A pot-bellied creature with a tiny face roams the world. There are also other creatures, similarly pot-bellied, with stilt-like arms. This gives them a mobility which affords them new points of view. The swamp provides shade for their heads, the rhythm of the tambourines makes their bellies sway. The film follows these faceless creatures with minimal movements which focus only on the essentials.

标题已说明一切。这部黑白动画中的动作由回声所支配。画面的流动引发了一系列联想。一个有着小脸蛋的大肚生物在世界中漫步。此外，还有其他同样大肚、长着高跷般手臂的生物。这赋予了它们移动能力，让它们能有新的视角。沼泽为……提供了荫蔽。

As video technology became more widely available in the early 1970s, many artists were drawn to the medium's immediacy and ease of reproduction, which allowed works to be shown on television or through other modes of distribution that bypassed the walls of museums or commercial galleries. Serra, known primarily for his large lead and steel sculptures, made a number of films and videos in the late 1960s and early 1970s. Holt, a pioneer of land art, also worked with film, video, and photography throughout her career. In Boomerang—which was broadcast live on a TV station in Amarillo, Texas—Holt's words are fed back to her through headphones with a one-second delay. She describes the experience, in which her words are suspended in time and space, as "a world of double reflections and refractions." As her voice echoes back to her, she continues, "words become like things," disconnected from their individual meanings and from their contexts. This interferes with Holt's thought process and establishes a distance between the artist and her sense of self, an effect intensified when pre-recorded sound samples are played or when glitches in the broadcast cause momentary periods of silence.