一对年轻夫妻独行登山。第一天夜里，女孩坦白说自己怀孕了。这个消息对于男孩来说非常突然。第二天早晨，女孩消失得无影无踪。

Deep Down redraws a descent into hell of a stripper called America, lost in the very depths of the U.S, taken away by a devastating love-story.

安妮出生在重男轻女的家庭，为了逃离爷爷的掌控，她考取了奖学金去国外留学。八年后，安妮获得博士学位并接受斯萨拉公司的邀请回国，她作为项目顾问回到普吉岛和爷爷的吉匹集团谈合作。 格坤是斯萨拉公司的管理者，为了让他忘记已嫁给吉匹集团继承人查诺的前女友萍妲，他的奶奶决定派他去负责和吉匹集团的合作事宜。格坤遇到安妮后很快就爱上了她，并请求她当自己的女朋友。一开始安妮为了在爷爷面前扬眉吐气，便决定和格坤交往，但两人相处过后，安妮也爱上了格坤。不过两人的交往并不顺利，因为前女友萍妲一心想夺回格坤，所以做了很多让两人产生误会的事。加上安妮同父异母的弟弟查诺被害身亡，导致两人的误会加深，所以安妮提出了分手。 即使误会重重，格坤也不曾想要和安妮分开。他想方设法找到证据，证明自己的清白，并明确地和萍妲划清界限。在他和朋友的努力下，终于查明了所有真相，他和安妮也重归于好。安妮得到了爷爷的认可，成为吉匹集团的管理者。

安妮出生在重男轻女的家庭，为了逃离爷爷的掌控，她考取了奖学金去国外留学。八年后，安妮获得博士学位并接受斯萨拉公司的邀请回国，她作为项目顾问回到普吉岛和爷爷的吉匹集团谈合作。 格坤是斯萨拉公司的管理者，为了让他忘记已嫁给吉匹集团继承人查诺的前女友萍妲，他的奶奶决定派他去负责和吉匹集团的合作事宜。格坤遇到安妮后很快就爱上了她，并请求她当自己的女朋友。一开始安妮为了在爷爷面前扬眉吐气，便决定和格坤交往，但两人相处过后，安妮也爱上了格坤。不过两人的交往并不顺利，因为前女友萍妲一心想夺回格坤，所以做了很多让两人产生误会的事。加上安妮同父异母的弟弟查诺被害身亡，导致两人的误会加深，所以安妮提出了分手。 即使误会重重，格坤也不曾想要和安妮分开。他想方设法找到证据，证明自己的清白，并明确地和萍妲划清界限。在他和朋友的努力下，终于查明了所有真相，他和安妮也重归于好。安妮得到了爷爷的认可，成为吉匹集团的管理者。

中国北方某小镇，少女在黑夜的陪伴下回到这里，故事由此展开。一顿不畅快的晚餐，一盒烟的娱乐，没有身份的奇怪男子，热闹喧嚣的麻将馆，失意沉闷的护士，害怕老婆的杀猪匠等，一个小社会里的各色人等被少年的一次次的闯入连接了起来，而这场杀戮是直接了当和毫不犹豫的，包括对自己也是一样的。

随着科技的发展，人与人之间的交流越来越少，社会也变得冷漠起来，本片通过二十个借喻制作了一部手绘实验影像，希望更多的人能看到，希望人间能充满爱。

富商女强人高岚参加拍卖会时得知儿子一家遭遇严重车祸，儿子高羽川和孙子豆豆均受伤严重，危及生命，急需巨额医疗费，可无论儿媳乔昕怎么乞求，高岚却无动于衷、异常冷漠，丈夫蒋云凡也对高岚的做法表示愤慨，面对众人指责，高岚却不以为意，反唇相讥，直至警察赶到才终于真相大白，原来所谓的车祸是假的，高岚的孙子、儿子、儿媳，甚至丈夫全都是假的，这几个冒牌货绑架囚禁了高岚的儿子，然后取而代之。

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).