刑警没有浪漫是一部由刘庆梅导演的电视剧，一共18集，主要讲述了北城发生一连串的凶杀案……形形色色案件的发生揭示出物欲横流的社会，已经是近乎疯狂的黑手，把刑警队长孙剑推到生死较量的前沿。孙剑凭着他对事业的忠诚，对生活的挚爱以及与战友们的无私情谊，破获了一起又一起的案件，也改变了他们的生活。

刑警没有浪漫是一部由刘庆梅导演的电视剧，一共18集，主要讲述了北城发生一连串的凶杀案……形形色色案件的发生揭示出物欲横流的社会，已经是近乎疯狂的黑手，把刑警队长孙剑推到生死较量的前沿。孙剑凭着他对事业的忠诚，对生活的挚爱以及与战友们的无私情谊，破获了一起又一起的案件，也改变了他们的生活。

秋千　　这是一个有关爱与回忆的故事。　　长得好不出众、甚至有点难看的父亲和长相漂亮却脾气不好的母亲走过了一个有一个结婚纪念日，他们有了三个女儿和一个儿子。孩子们对于如此没有交集的父母为什么走到一起充满好奇。于是，父母讲述了他们从相知到结婚的点点滴滴。两个人最初话不投机，从外貌到性格都背道而驰。他们始于相亲，然后慢慢了解、磨合，成了天下最普通的一对夫妻。　　真实的生活中鲜有浪漫，更多的是平凡。

长得好不出众、甚至有点难看的父亲和长相漂亮却脾气不好的母亲走过了一个有一个结婚纪念日，他们有了三个女儿和一个儿子。孩子们对于如此没有交集的父母为什么走到一起充满好奇。于是，父母讲述了他们从相知到结婚的点点滴滴。两个人最初话不投机，从外貌到性格都背道而驰。他们始于相亲，然后慢慢了解、磨合，成了天下最普通的一对夫妻。 真实的生活中鲜有浪漫，更多的是平凡。

刑警给人以英武刚毅之感，却很少有人去描绘他们的生活。该剧生动地反映了刑警的生活与爱情和烦恼

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

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。

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.

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.