This movie consists of three chapters. In Part 1, Minju, who majors in fashion design, is preparing for her graduation exhibition. In Part 2, Seungju is an aspiring actress preparing for an audition. In Part 3, Hyejung and Dongmin head to their hometown, Uncheon, a rural village.

阮流筝离家七年后回到了自己生长的城市，成为北雅医院神经外科的一名进修医生。为了能留在北雅，阮流筝将全部精力投入到工作中。尴尬的是前夫宁至谦是北雅最优秀的神外医生，他主动做阮流筝的导师，倾囊相授，只为能弥补曾经失败的婚姻对她的伤害。然而，阮流筝早已不是当年那个脆弱胆怯的女孩，无论是治病救人还是面对情感，她都有着自己的担当和坚持。在工作中他们争执、和解又并肩作战，命运在两人之间牵起的那根红线一直未曾剪断。为了响应国家号召他们参加了援非医疗队，在救助病人的过程中宁至谦中了流弹伤情严重，阮流筝不离不弃把他从死神手中抢了回来。经历生死考验的他们对生活和生命有了更多的理解，重新开始了一段新的感情。

阮流筝离家七年后回到了自己生长的城市，成为北雅医院神经外科的一名进修医生。为了能留在北雅，阮流筝将全部精力投入到工作中。尴尬的是前夫宁至谦是北雅最优秀的神外医生，他主动做阮流筝的导师，倾囊相授，只为能弥补曾经失败的婚姻对她的伤害。然而，阮流筝早已不是当年那个脆弱胆怯的女孩，无论是治病救人还是面对情感，她都有着自己的担当和坚持。在工作中他们争执、和解又并肩作战，命运在两人之间牵起的那根红线一直未曾剪断。为了响应国家号召他们参加了援非医疗队，在救助病人的过程中宁至谦中了流弹伤情严重，阮流筝不离不弃把他从死神手中抢了回来。经历生死考验的他们对生活和生命有了更多的理解，重新开始了一段新的感情。

雨薇（赵薇 饰）是杂志《捷报》的主编，这天，杂志因故宣布停刊，对IT行业领头人霍然（庹宗华 饰）的采访，成了《捷报》的绝唱。三天后，雨薇和手下员工被霍然新办的商业杂志聘请，易主的雨薇很快投入到忙碌的工作中。雨薇的母亲（潘虹 饰）对离异的丈夫始终耿耿于怀，伹善良的雨薇则暗中帮助有苦难言的父亲。曾经的闺蜜留洋的季敏回国堕胎，雨薇一方面忙于杂志社的繁重工作，一方面还要照顾异处生活的父母，现在又加上一个季敏，整日忙得焦头烂额。目睹这一切的霍然既感动又怅然，妻子之涵（秦海璐 饰）与其相比有天壤之别。这时，在外漂荡多年的妻哥之浩（仼伟 饰）突然回来了，他要找的女友恰好是雨薇正在照料的季敏。心胸狭窄的之涵认定丈夫对雨薇有非份之心，她决计搞垮杂志社，而突然出现的“猴子”（周一围 饰）改变了一切……

雨薇（赵薇 饰）是杂志《捷报》的主编，这天，杂志因故宣布停刊，对IT行业领头人霍然（庹宗华 饰）的采访，成了《捷报》的绝唱。三天后，雨薇和手下员工被霍然新办的商业杂志聘请，易主的雨薇很快投入到忙碌的工作中。雨薇的母亲（潘虹 饰）对离异的丈夫始终耿耿于怀，伹善良的雨薇则暗中帮助有苦难言的父亲。曾经的闺蜜留洋的季敏回国堕胎，雨薇一方面忙于杂志社的繁重工作，一方面还要照顾异处生活的父母，现在又加上一个季敏，整日忙得焦头烂额。目睹这一切的霍然既感动又怅然，妻子之涵（秦海璐 饰）与其相比有天壤之别。这时，在外漂荡多年的妻哥之浩（仼伟 饰）突然回来了，他要找的女友恰好是雨薇正在照料的季敏。心胸狭窄的之涵认定丈夫对雨薇有非份之心，她决计搞垮杂志社，而突然出现的“猴子”（周一围 饰）改变了一切……

雨薇（赵薇 饰）是杂志《捷报》的主编，这天，杂志因故宣布停刊，对IT行业领头人霍然（庹宗华 饰）的采访，成了《捷报》的绝唱。三天后，雨薇和手下员工被霍然新办的商业杂志聘请，易主的雨薇很快投入到忙碌的工作中。雨薇的母亲（潘虹 饰）对离异的丈夫始终耿耿于怀，伹善良的雨薇则暗中帮助有苦难言的父亲。曾经的闺蜜留洋的季敏回国堕胎，雨薇一方面忙于杂志社的繁重工作，一方面还要照顾异处生活的父母，现在又加上一个季敏，整日忙得焦头烂额。目睹这一切的霍然既感动又怅然，妻子之涵（秦海璐 饰）与其相比有天壤之别。这时，在外漂荡多年的妻哥之浩（仼伟 饰）突然回来了，他要找的女友恰好是雨薇正在照料的季敏。心胸狭窄的之涵认定丈夫对雨薇有非份之心，她决计搞垮杂志社，而突然出现的“猴子”（周一围 饰）改变了一切……

Confined to a wheelchair, Otto prays and prays for an opportunity for revenge. To go after the men who raped and murder his wife and daughter infront of his very eyes. His prayers will soon be answered but not from the Almighty, rather from a friend down below.

The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. 　　La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. 　　Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. 　　To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. 　　Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. 　　People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. 　　A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.

一个平静的夜晚，楼下传来的声⾳引发了不同的反应和相似的冷漠。

苏白玉原名苏枕月，和墨君彦是青梅竹马，墨君彦曾经在苏白玉母亲坟前承诺，会守护苏白玉一辈子。后来苏白玉出国留学，与墨君彦网恋十年。苏白玉在国外出车祸毁容后换了容貌，回国后怀了墨君彦的孩子，却在陈娇娇的陷害下，墨君彦不再相信苏白玉就是苏枕月，导致身患癌症的苏白玉怀孕死去，墨君彦知道真相后悔莫及。