大雪天，孤女刘小苗捡到被将军府弃于雪地的胡铃音，执意认她做娘。苗父刘大栓本想送回，却被胡铃音的温柔善良打动，三人组成温暖小家。将军闻仲庭与嫡子闻子砚屡次上门纠缠，逼胡铃音回府。胡铃音历数被欺骗、污蔑、弃于雪地的伤痛，坚定选择与刘大栓、小苗相守。小苗全力守护娘亲，嫡子闻子砚逐渐醒悟，认清生母真心。最终胡铃音彻底摆脱将军府的束缚，与刘大栓在乡村安稳度日，育有儿女，小苗也拥有了完整幸福的家，从前被抛弃的人，终于都有了归处。

苏联解体后那个“疯狂的九十年代”，在俄罗斯北方一座工业城市。主人公伊万是一名雅库特人（少数族裔），因为20多年前那场不光彩的茹侵阿富汗战争留下了脑震荡，现在是一家锅炉房里的工人。一位当地的黑道大佬是伊万从前的战友，常常利用锅炉房来毁尸灭迹，“没关系，他们都是一些坏人”，如此，他安慰伊万说。但直到有一天，当Skryabin的女儿因抢走了这位朋友女儿的男友而被送进锅炉时，伊万才开始醒悟。战争并没有结束，过去是和别人打，现在是和自己打。

苏晓重启人生重回八十年代乡村，幡然醒悟的她决心扭转过往遗憾，守护至亲改写命运。她扎根乡土深耕草药产业，潜心研习药材知识踏实创业，咬牙熬过清贫日子。丈夫沈风身有缺憾，凭扎实医学专长暖心相伴，是她前行最稳依靠；幼子阳阳的笑脸驱散奔波疲惫。苏晓凭辛劳撑起小家，还带领乡亲增收致富，重拾温情爱意，靠双手打拼，让普通农家迎来向好新生

热闹婚宴掀起波澜，漂泊十八年的他重回故土。久别重逢，消散多年的亲情再度相连。面对重重困境，李家众人携手并肩。他脚踏实地奋勇谋生，守护至亲老屋，以一己之力扛起家庭，让小院重新盛满融融温情。

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, Ivan Mozhukhin in Casanova Ivan Mozhukhin in Casanova this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

Bundeswehr soldier Klaus' regiment is stationed in France, to take part in NATO maneuvers. The soldiers are ordered to be kind to the populace, since the West German High Command wishes the French to forget the atrocities that were committed during the Second World War. Klaus falls in love with Jeanne, the daughter of the local mayor. He discovers that his commanders intend to demolish the ruins of a local church, in which civilians were murdered by the German occupation forces at 1944. A local journalist who researches the event discovers that West German General Rucker ordered the massacre, but he is mysteriously murdered. Klaus defies his commanding officer Siebert, who instructs him to steal the documents indicting Rucker, and hands the evidence over to Jeanne.

一名现代女子意外穿越至古代，刚睁开眼便成了失去丈夫的寡居妇人，身边只剩下年幼的孩子，家中一贫如洗，日子举步维艰。婆母心怀算计，想要趁机夺走她家赖以生存的地契，她据理力争，强硬守住了母子二人最后的根基。令她惊喜的是，一部来自现代的手机竟然也跟着她一同来到这里。她发现手机里存着大量美食菜谱，于是便照着方子制作各色新奇吃食。美味的食物很快征服了街坊邻里的味蕾，她靠着售卖美食慢慢赚取收入，一点点改善贫寒的家境。往后她踏实勤恳，用心经营生活，带着孩子慢慢过上富足安稳、喜乐无忧的幸福日子。

住在偏远山村的少女暖水灵俏皮、清纯美丽，是青年男子们倾慕的对象，对于和暖青梅竹马的林井和来说更不例外。外面的世界五彩缤纷，暖一心等待偶然驻留于此的戏班英俊武生带她离开这个山村，然而等待她的只有失望。在和井河荡秋千的时候，暖摔伤了腿，不久后井河也离开家乡，两人从此失去联系。十年后，井河从北京回到家乡，见到了阔别已久的暖。此时的暖跛着腿，形容枯槁，已经嫁给村中的哑巴。一种别样的情感袭上心头。

Luke Rogers was the ideal "Christian". Now in his mid-twenties, Luke has found himself far from the good Christian life he used to lead.

岗头村王书记在女儿的引导下，协助早年带领大伙挖通通向外部世界公路、创造了岗头坪“新愚公精神”的田大山，战败腐败村长麻将父子重新当上了岗头坪村村长。 但是，王书记计划带领大伙进行农房改造，改变农村的落后住房面貌；而号称取经和尚的田大山却打算带领大家发展经济，让大伙的钱袋子都鼓起来。两人的施政方向出现偏差，并发生了矛盾。于是两个核心村干部在村里便形成了住房改造和发展经济，两派互相制约，是村子的发展陷入僵局。 天大山的儿子竹根和王书记的女儿杨梅相爱。全家反对竹根...