影片讲述了发生在19世纪60年代美国西部边境的一对恋人的故事。薇薇安·勒·库迪是一位非常独立的女性，她与丹麦移民霍尔格·奥尔森展开了一段恋情。在旧金山遇到奥尔森后，她同意和他一起前往他位于内华达州埃尔克弗拉茨附近的家，并在那里开始了共同生活。内战爆发后，奥尔森决定为联邦军队而战，两人遂分离。这使得薇薇安不得不独自生活，面对腐败市长鲁道夫·席勒和他不择手段的商业伙伴、强大的牧场主阿尔弗雷德·杰弗里斯控制。而且，阿尔弗雷德儿子韦斯顿性格暴躁、不守规矩，他对薇薇穷追不舍，而薇薇安则坚决抵制他的不轨追求。战争结束后，奥尔森归来，他和薇薇安必须面对并接受彼此已经变成的样子。

影片讲述了发生在19世纪60年代美国西部边境的一对恋人的故事。薇薇安·勒·库迪是一位非常独立的女性，她与丹麦移民霍尔格·奥尔森展开了一段恋情。在旧金山遇到奥尔森后，她同意和他一起前往他位于内华达州埃尔克弗拉茨附近的家，并在那里开始了共同生活。内战爆发后，奥尔森决定为联邦军队而战，两人遂分离。这使得薇薇安不得不独自生活，面对腐败市长鲁道夫·席勒和他不择手段的商业伙伴、强大的牧场主阿尔弗雷德·杰弗里斯控制。而且，阿尔弗雷德儿子韦斯顿性格暴躁、不守规矩，他对薇薇穷追不舍，而薇薇安则坚决抵制他的不轨追求。战争结束后，奥尔森归来，他和薇薇安必须面对并接受彼此已经变成的样子。

该片讲述了高科技企业之间在芯片领域交锋中发人深省的故事。 　　某地产公司美女老总陆茜下班后驾驶心爱的迷你轿车惬意地行驶在路上，突然注意到自己被一辆白色路虎汽车尾随，意识到危险的陆茜采取各种措施想摆脱尾随者，当在岔道口拐上燕凌大桥时，陆茜所驾驶车辆遭受到跟踪者远程操控，制动转向完全失灵，飞速冲破护栏，坠入距离桥面三十米的凌河水中，白色路虎车怡然驶离，桥下，只留有一圈圈涟漪…… 　　微波荡漾之下暗流涌动，情意缠绵背后心机重重……

三位电影社团的成员临时起意跟前辈借了车子，前往位于内藏山的偏僻村庄进行电影场景之旅。一行人在山中徘徊，途中目击一场可怕的交通事故，他们捡走了掉落现场的汽车导航，并听从汽车导航亲切指示继续前进，但抵达的地点却不是当初料想的目的地，这令他们感到相当惊慌。三人决定稍事休息，便在森林中的草地以石头为烤盘来烤肉当晚餐，没想到当成烤盘的石头，竟是一块倒塌的墓碑。三人被吓得魂飞魄散，立即跳上车离开现场，却在驶离山中时突然撞上衝到路中央的人，悲剧于是展开…

Writer Kim, who has a backache, moves toward Tongyeong, 　　Makoto, with cold feet, moves to the south of Korea.

Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye". 　　It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. 　　And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). 　　Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.

该剧讲述妈妈和女儿一起追踪婚礼当天逃跑的新郎而展开的追击喜剧故事。