即将新婚的安楚儿为挽救因车祸肝脏破裂的游泳运动员易华天，将自己肝脏的一半移植给了易华天，从此他们的生命便融为了一体。安楚儿因肝脏移植与男友分手，同时易华天在车祸中也失去了左腿，两人在一种莫名力量的牵引下，渐渐走到了一起，在安楚儿的鼓励下易华天重新站立起来面对生活，通过残联的帮助易华天找到一份早餐店的工作，自力更生，并恢复了游泳运动的训练，伴着安楚儿的支持，易华天十年磨剑终在残奥会获得冠军。安楚儿此时却提出了离婚……

赖敏、丁一舟，两个广西柳州的年轻人，曾经的小学同桌。本来两人生活已无交集，却因为赖敏的遗传性家族疾病“企鹅病”让两人又重新相遇，坠入爱河。随着…

石油是现代生活的支柱。人类的衣食住行，无一离得开它。它已演变成为世界最重要的一种日用品。但假如石油全部被耗尽，又会发生什么？如果世界尚未挖出的10万亿桶石油突然消失，导致燃油短缺，人们改乘不需要燃油的交通工具，食物、药物、垃圾等物品均没有被运输。

为了过正常生活，患病出院的吕笑笑与丈夫周全决定搬入新小区，却遭到了无理邻居贾仁善一家挑衅与欺凌。贾家不但制定了霸道楼规，还纵容孩子破坏电梯。不料吕笑笑突然犯病，反击了他们家。事后，贾家为了报仇，便开始恶意造谣，甚至擅闯吕笑笑家，导致周全终身残疾。吕笑笑再次受到刺激误伤了贾仁善，可贾家却恶人先告状，还试图讹夫妻俩一笔。不料贾家偷鸡不成蚀把米，反而受到了法律的制裁，仓皇搬离小区。吕笑笑与周全终获平静生活。

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.

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。