刚被停职的设计师纪言，抱着烧得厉害的儿子硬闯集团董事长办公室，在场人全惊住——她竟是隐婚五年的集团少夫人，怀里的孩子还是董事长的亲孙儿！此前她遭职场打压、设计成果被抢，丈夫也长期缺位，这回她不再退让，凭专业当众戳破真相，连院士父亲都出面撑腰。最终她果断结束错婚，夺回抚养权与事业，还升为设计中心负责人，这才明白，女人的归宿从来不是婚姻，独立实力才是底气

电影改编自直木奖获奖作家重松清的同名小说，由《玻璃芦苇》的导演三岛有纪子执导。故事讲述了带着孩子的离婚男人信（浅野忠信饰）和第二任妻子奈苗（田中丽奈饰）及她此前所生的两个女儿过着平凡而幸福的生活。当奈苗怀孕后，奈苗的大女儿透露想见自己亲生父亲沢田（宫藤官九郎饰），可正是这位亲生父亲曾对奈苗家暴导致他们离婚，奈苗和信都极度反对，大女儿竭力反抗，这让信感到沮丧，甚至对奈苗的腹中胎儿也产生否定感。

设计师纪言被意外停职，抱着高烧的儿子闯入董事长办公室，众人方才知晓她隐婚五年，孩子便是董事长的孙子。长久以来丈夫缺席陪伴，工作成果被他人夺走，还遭受职场打压，她决心不再退让，当众还原全部真相。在家人的助力下洗刷冤屈，果断结束失败的婚姻，夺回孩子抚养权，重回事业巅峰。

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。

现代青年魂穿古代，成为年仅十岁的孤儿周宁野，刚穿越便遭狠毒伯娘苛待，险些殒命。好不容易激活的修仙系统发现绑定世界有误，匆匆解除联结，仅遗留一处神秘空间与两瓶丹药。面对着七岁弟弟、尚且年幼的妹妹，还有嗷嗷待哺的小妹，周宁野扛起长兄的重担。他挖野菜、采山货换取钱粮维系家计，可贪婪的亲戚依旧觊觎父母遗留的房宅土地，甚至妄图将妹妹变卖牟利。

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)

现代大学生沈玥儿一朝穿越古代，重生于被苛待饿死的农家少女身上。家中处境步步维艰，尚有两个年幼弟妹需要照料，父亲性格怯懦，奶奶与二叔一家贪婪刻薄，百般压榨欺辱。沈玥儿摒弃往日软弱，依靠现代厨艺与经商智慧绝境求生。上山采挖草药，开办吃食铺面，步步打拼谋求生计。她遇见沉默可靠的猎户顾云飞，携手相伴，也慢慢点醒父亲扛起家庭责任，以一己之力守护一众亲人，闯出属于自己的一番天地。

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。

大婚当日

宁安集团董事长姜宁被高中同学秦嫣然婚礼邀请，到场发现新郎竟是自己的老公林耀。秦嫣然误以为姜宁是林耀情人，对她羞辱，其他同学也跟风指责。林耀到场后真相大白，姜宁是林耀原配。林耀赘婿身份曝光，求姜宁原谅。姜宁报警并要求赔偿。秦嫣然无力偿还，林耀求和未果，姜宁提出离婚并让他净身出户。离婚后，林耀伺机报复姜宁，却亲手害死她腹中胎儿。最终，姜宁远离林耀，开始新生活，并将秦嫣然和林耀送入监狱。