北漂女汪小菲（姚晨 饰）来时尚杂志面试，女老板ZOE（陈冲 饰）因丈夫出轨正闹离婚，无暇顾及，让她从实习生做起。该杂志约画家栾亦鸿（刘烨 饰）拍摄时尚照片。在换衣间，一帐之隔，亦鸿偷窥到跳舞的小菲，遭到后者痛击。两人不打不相识，亦鸿追求小菲，并帮其谋得了跳舞减肥班老师的职位。小菲刚开始对他产生好感时，却发现他的前女友柯敏（莫小奇 饰）竟然还在纠缠。一怒之下，小菲扯谎要嫁，逼得亦鸿在时尚发布会上发狂。几经周折，正当小菲下定决心，接受亦鸿时，后者却逃避现实，留信一封，去了纽约。

北漂女汪小菲（姚晨 饰）来时尚杂志面试，女老板ZOE（陈冲 饰）因丈夫出轨正闹离婚，无暇顾及，让她从实习生做起。该杂志约画家栾亦鸿（刘烨 饰）拍摄时尚照片。在换衣间，一帐之隔，亦鸿偷窥到跳舞的小菲，遭到后者痛击。两人不打不相识，亦鸿追求小菲，并帮其谋得了跳舞减肥班老师的职位。小菲刚开始对他产生好感时，却发现他的前女友柯敏（莫小奇 饰）竟然还在纠缠。一怒之下，小菲扯谎要嫁，逼得亦鸿在时尚发布会上发狂。几经周折，正当小菲下定决心，接受亦鸿时，后者却逃避现实，留信一封，去了纽约。

中学毕业之后，17岁的伊万（弗•杜纳耶夫斯基 Fyodor Dunayevsky 饰）来到了一家杂志社，成为了那里的通讯员。伊万虽然年纪轻轻，确实一个非常淡泊的男人，他对生命中的很多事情都抱有着无所谓的态度，工作也是随便糊弄一下就完事。 　　在杂志社里，伊万结识了名叫卡嘉（安娜斯塔西娅•涅莫里亚耶娃 Anastasiya Nemolyayeva 饰）的女孩，两人相见恨晚交谈甚欢，两颗心很快就紧紧的靠在了一起。卡嘉的父亲非常反对女儿和这个不上进的年轻人走到一起，于是伊万欺骗他说卡嘉已经怀上了自己的孩子，这让这个保守的老人大发雷霆。

中学毕业之后，17岁的伊万（弗•杜纳耶夫斯基 Fyodor Dunayevsky 饰）来到了一家杂志社，成为了那里的通讯员。伊万虽然年纪轻轻，确实一个非常淡泊的男人，他对生命中的很多事情都抱有着无所谓的态度，工作也是随便糊弄一下就完事。 　　在杂志社里，伊万结识了名叫卡嘉（安娜斯塔西娅•涅莫里亚耶娃 Anastasiya Nemolyayeva 饰）的女孩，两人相见恨晚交谈甚欢，两颗心很快就紧紧的靠在了一起。卡嘉的父亲非常反对女儿和这个不上进的年轻人走到一起，于是伊万欺骗他说卡嘉已经怀上了自己的孩子，这让这个保守的老人大发雷霆。

根据伦敦西区舞台剧《通讯卫星》（Telstar）改编的同名影片，该片将讲述英国60年代著名音乐制作人乔·米克（Joe Meek）生平故事，片名“Telstar”（通讯卫星）是其制作的最得意的歌曲的名字。曾主演舞台剧版本的康·奥尼尔（Con O'Neill）将扮演继续乔·米克，凯文·斯派西将扮演其理财顾问Major Banks。

左右为难的制片人奋力抵抗客户的要求；垂死挣扎的传销员试图放手一搏转型为成功学导师；年迈的母亲孤独地等待着那不会被接听的来电。三位看似互不相干的小人物因一则通话连在一起，各自尝试对抗自己命运。《通讯默示录》以三个长镜头、三位角色，窥探时代巨轮下，香港人如何在这世界最昂贵的城市中生存。

An unusual video project accompanies this year’s Great Performers photo portfolio. These nine black-and-white films, written and directed by Gina Prince-Bythewood (with two by Ami Canaan Mann), let the viewer inhabit a scene opposite some of Hollywood’s greatest actors, all in a series of classic film-noir scenarios. The action takes place in a dimly lit bar — an enveloping, 360-degree set, with all wiring and lights cleverly built into the scene. And in each short drama, the V.R. camera plays the role of a major character: The stars were instructed to play their scenes with the camera, speaking to it, singing to it, walking around it in circles, firing a gun at it. 　　The result is strange and thrilling, a new sort of moviegoing experience that puts you right inside the frame. This was each actor’s first time performing in V.R., and it took some getting used to. But there was one advantage over traditional filmmaking. Unlike a typical film set, which is full of crew members and equipment and other distractions, the V.R. set, once the scene began, became a closed, immersive fantasy: just a bar, a few actors and the single camera rig standing in for one last character — which is to say, you. 　　–JAKE SILVERSTEIN

银河战争结束之后，一名暴风兵回到故乡想要打工谋生，却遭到他人排挤...

For three days in 1971, former US soldiers who were in Vietnam testify in Detroit about their war experiences. Nearly 30 speak, describing atrocities personally committed or witnessed, telling of inaccurate body counts, and recounting the process of destroying a village. The atrocities are casual, seem routine, and are sanctioned or committed by officers. Images from the war illustrate the testimony; there's a side discussion among veterans about racism and a couple of interviews about the soldiers' self-realization. The testimony appears in the US Congressional Record on April 6 and 7, 1971. A "winter soldier" contrasts with Paine's "summer soldier and sunshine patriot."