《我没有失踪》讲述了北川老警察罗立松在调查几年前失踪的女人韩晓丽时，发现她和自己昔日的邻居马成功有染，而这个马成功原本是当地有名的“十好”居家男人，同时，罗立松意外结识了一个叫周昆的神秘男人，他没想到，周昆原本就是韩晓丽的前夫，并且曾经是自己儿子罗刚手下的犯人，而他和罗刚在大地震期间的失踪有着直接的关系，他们都牵连进这桩失踪甚至是杀人案中。

《我没有失踪》讲述了北川老警察罗立松在调查几年前失踪的女人韩晓丽时，发现她和自己昔日的邻居马成功有染，而这个马成功原本是当地有名的“十好”居家男人，同时，罗立松意外结识了一个叫周昆的神秘男人，他没想到，周昆原本就是韩晓丽的前夫，并且曾经是自己儿子罗刚手下的犯人，而他和罗刚在大地震期间的失踪有着直接的关系，他们都牵连进这桩失踪甚至是杀人案中。

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……

蓝爵士（单立文 饰）与盛鸣（曹永廉 饰）、卢苏（郭晋安 饰）和余多春（李思捷 饰）合伙开一家律师楼，四人性格虽南辕北辙，但工作上还说得过去。一天，貌似大好人的盛鸣卷款而逃，身为律师楼法人代表的爵士大为震惊，盛的妻子顾嘉婷（滕丽名 饰）也张慌失措没了主张。顾弟顾嘉莹（陈敏之 饰）也是律师，闻言姐姐遭难，带客来投，不料撞上宿敌卢苏，俩人定有一场交量。律师楼遭难，多春厚着脸皮向出身富家的妻子钟丽莎（李诗韵 饰）求援，丽莎天性醋意大，正好借机踏进律师楼监视多春行踪，并以大股东的身份发号施令要挟其他人，爵士等众男叫苦不迭。不久，盛鸣重返律师楼，他矢口否认卷款逃走一事，行为也与原来判若两人，变的狂妄卑鄙、不择手段......

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…

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.