高考前一百天，凌晨四点，一名高三男生不幸自杀坠落在班主任家的阳台上，让这位班主任和她的女儿卷进一场不断演变的舆论和关注之中，这众所周知的事的背后，却有很多不为人知的事……

苏格兰的偏远渔村，最近出海的渔船遭遇了海难，生性乖异内向的Aaron是船上五人中唯一的幸存者。遇难当天发生了什么，Aaron哑口不言，失去亲人的村民们因此愈发孤立他。当地流传着海中魔鬼的古老神话，而Aaron只一心想找回遇难的哥哥……

“中之人基因组”。在游戏实况者之间成为话题的神秘免费游戏。通称，失踪游戏。据称，在即将通关之际就消失的玩家源源不断。失踪的游戏实况者们，被…

40名参赛选手经过层层选拔来到比赛现场，他们将分别在新闻和综艺两个赛道进行角逐。选手们将通过海选、复赛、决赛三轮考验，最终的优胜者将签约SMG东方卫视，成为新人主播。

杰克柯林斯是一位前海军海豹突击队队员，目前是协助中央情报局追捕恐怖分子的赏金猎人。然而他长期靠药物对抗心魔的情况，让他成为组织的眼中钉。中情局的接头人莉决定给他最后一次机会，派他到伦敦街头出三人小组任务。目标名叫麦奈特，是叛变的中情局前特务，向俄国黑帮购买大规模毁灭性武器后就人间蒸发……

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

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。

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.

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.