一群中国留学生穿梭于波士顿的各个地方，游走在市中心与郊区之间。我们不知道他们的具体关系，只知道他们生活的局部，和他们身处的地方。我们看见他们在街道上漫游，或在原地思考些什么。一场偶遇，聚会，别离仿佛即将发生在他们身上，但又因为他们的出画而戛然而止。尽管生活慢慢步入正轨，但仍有一种暗流隐藏在凝滞的日常碎片之中。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

为给母亲治病，乔小乙说谎骗钱，代理慈善机构招募善款时骗了霍东。霍东追债，乔小乙被迫分期还款，还误会霍东与机构合伙骗她。此后，乔小乙赚钱时多次与霍东产生冲突。一次偶然，乔小乙帮霍东搅黄相亲，被霍东高薪聘请解决相亲麻烦。二人各怀鬼胎合作，过程中霍东为乔小乙洗清冤屈，乔小乙逐渐喜欢上他。这时，姚贝贝等人介入，引发一系列情感纠葛。后来安娜回国逼走乔小乙，好在最终两人突破重重阻碍，走到了一起。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

京大新生夏天对曾救她于火场的顾岑玺一见钟情，酒吧重逢后主动展开追求。两人因军训结下更深羁绊，顾岑玺化身严厉教官，却屡次为夏天解围。历经舍友嫉妒、校董之子刁难、恶意造谣等风波，夏天的勇敢聪慧与顾岑玺的沉稳守护相互吸引，冲破重重阻碍确定关系。最终，夏天凭借实力斩获电影女主角，顾岑玺浪漫求婚，两人在爱与梦想中收获圆满。

老邓 （吕中饰）在青年时代响应国家号召到贵阳支援建设。回到北京后，老邓与两个儿子回归平淡生活。然而一系列意外出现的人和事打破了老邓一家的平静：家中时不时响起的沉默来电，屡次“碰巧”遇见、让老邓感到似曾相识的陌生少年，小区里发生难解的谋杀悬案，似乎将有一场翻云覆雨的风暴正向老邓和她的家人们袭来。老邓串起眼前发生的一系列离奇事件，在贵阳的记忆逐渐在她眼前浮现。为了寻找答案，也为了当年的遗憾，她踏上了去贵阳的旅程，而在那里，另一重意外也在等待着她 。

程宇陌，喧嚣城市孤独的寄居者，每天进出不同的空房子，窥探着这个城市的秘密。他不知道为什么会在这里，也不知道明天会去哪里。一个偶然，他在网剧中看到了十八线女明星胡梦雅，却从未想过，在接下来的17天中他将经历生命中最重要的3个时间点。随着命运轮盘的转动，程宇陌意外地住进了胡梦雅的家，从未见面，却开启了一段幻想、欲望与痛苦交织的爱恋。突然发现的巨款，接踵而来的各色人物……程宇陌在推动自己命运的同时也在推动着别人的命运，他要在“金钱、爱情、生命”中一一作出选择。而他的每一次选择，又让生死危险一步步地逼近，“一个从未见过面的恋人，你可以为她付出生命吗?”。在偶然或是必然中，他发现了这段不可名状的爱恋背后，隐藏于冥冥之中的真相……

卫昕与沈澄轩因对方出轨决裂，后意外相识并产生感情。黎芊芊爱慕沈澄轩，联合常溪寒多次设计陷害卫昕，制造绯闻、伪造受贿证据，还利用卫昕嗜赌的父亲卫理闹事，企图破坏二人关系与卫昕的记者事业。沈澄轩始终坚定维护卫昕，揭露黎芊芊与常溪寒的阴谋。过程中，众人发现父辈间的旧怨。最终，卫昕与沈澄轩收集证据，在法庭上让黎芊芊、常溪寒、陈敬山得到法律制裁。卫昕获年度风云记者，两人也收获圆满爱情。

In the aftermath of a deadly haunting in a small suburban home, a sinister omnipresent entity proceeds to cause havoc in the private lives of a young boy, an unsuspecting teen, and absent minded inspector.