女作家姜诗辰在新书发布会上被指抄袭，神秘鲜花、带血手稿相继出现，在好友熊志的陪伴下探寻真相，不料痴情总裁林伟政，热辣秘书宋欲，抑郁症病患先后卷…

宝儿深爱李唯克，两年来无怨无悔地付出，却始终无法俘获他那颗不羁的心。美术组新同事文烈疯狂追求宝儿，他比宝儿小三岁，宝儿并未将其放在心上。不过，因为有人欣赏和关怀，宝儿不知不觉中振作起来，专注于工作。 大老板的女儿幼薇，为报复父亲情妇众多，变成了刁钻任性的女孩。她喜欢文烈，因得不到他，便不断挑衅、纠缠文烈，还时常找宝儿的麻烦。孟凌君出国度假，宝儿偶然间为大客户“朝阳集团”想出了开拓市场的点子，这个点子能为公司带来丰厚利润。她决定冒充主管去说服客户，之后再向总经理坦白过程和结果。不冒这次险，她永远得不到首次表现的机会。秀玉劝阻她，文烈却鼓励她，等宝儿决定去做时，两人都出手相助。经过重重困难，宝儿的点子终于得到大客户的重视，对方开始认真评估其可行性。 秀玉唯一的梦想是嫁给青梅竹马、在国外读书的男友顾，然后成为贤妻良母。八年来，他们一直保持联系，秀玉也始终忠贞守候。一日，一名男子顾家明……

1988年海南建省，这片沉睡的海岛突然充满了希望和机会。 苏梦、费扬、丁海南、段文轩、倪立伟等内地青年来到这块生机勃勃的土地。苏梦、丁海南从最底层做起，他们扛过麻袋，端过盘子，钉过广告牌，炒过房地产；费扬是有着经济基础来海南办公司的；段文轩是副市长，一心要为建设海南做贡献；倪立伟则在这片有文化沙漠之嫌的地方坚守着自己心中的理想…… 最终他们与这块土地共同发展、成长，海南发展了，他们也取得了丰硕的果实。

在這個國度裡，一時熱得像夏天，一時冷得像冬天，永遠沒有秋天。

一名娇生惯养的电子游戏玩家想要参加即将到来的比赛赛，但因为生病的母亲和一位古怪的阿姨，他不得不重新考虑事情的轻重缓急。

六岁的江舒雅被拐后沦为"人贩子女儿"，在虐待中长大，却意外保护了被拐的妹妹。获救回家后，她因过往经历遭母亲误解与排斥，甚至失去一只眼睛，最终选择寄宿学校独自生活。多年后，她以优异成绩考入名校，与原生家庭保持疏离而客气的关系。成年后组建自己的幸福家庭，与过去和解，在温暖的新生活中治愈创伤，找到属于自己的人生归宿。

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。

Evelyne Morin has known much misfortune in her life. Widowed, after being married to an unscrupulous adventurer, she ends up working as a call-girl in a Montmartre nightclub just so that she can bring up her young son. But Evelyne has hopes of escaping from this degrading life. One evening, she meets Georges, a Canadian friend, whom she once considered marrying. Since she last met him, Georges has become rich and highly respected as a doctor. To conceal her downfall, Evelyne pretends to be a respectable woman, with the help of Paul Mazuraud, an odious man who provides her with the wherewithal for her to keep up this deception. When her son unintentionally gives the game away, Evelyne places him in the care of her Canadian friend and then fades away into the fog...

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.