秦易阳本是豪门秦家养子，却被归来的真少爷秦昊陷害，以“迷奸未婚妻”的罪名被送入家族书院，遭受两年非人折磨，甚至被毁掉男性功能。被迫与丑陋的程琳琳联姻时，他在婚礼上被亲生父母龙国首富靳川夫妇认出。身份揭晓后，秦易阳以靳家继承人之姿复仇，揭露秦昊的恶行，将秦家人送入他们亲手打造的书院体验痛苦。最终，秦易阳与一直守护他的宁星瑶结婚，接管靳氏集团，并将书院改造成庇护所，彻底告别过去，迎来新生。

这是一部表现改革开放初期家庭问题的社会伦理片。影片描写了北方某重型机械厂厂长朴宇明在家庭、事业上的坎坷境遇。他的妻子和女审判官对爱情、婚姻和人生的探索，尤其是家庭形态的演变引起了人们的思索。

上班族王大力真心订婚却惨遭算计、被伤欺辱，看清人性后冷静取证反击，依法追回损失、惩戒恶人，走出阴霾，深耕事业重启新生。

顶尖肖像摄影师沈知言，在自己的摄影展上，被一幅旧速写揭开尘封八年的过往。高中时他与爱画画的苏晚相恋，却因大学后的自卑与懦弱，亲手推开了她。八年里，他功成名就，却始终活在悔恨中。直到苏晚离世的消息传来，他才明白，人生没有如果，那些不懂爱的年纪里错过的人，那些因懦弱留下的遗憾，终将成为一辈子无法弥补的痛

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。

After the tragic overdose of his estranged friend, Will, a recovering addict, returns home, where he is reunited with Claire, his friend's grieving mother, with whom he begins a secret but volatile affair.