When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. 　　With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.

讲述了君无咎通过一件离奇的双生子掉包案，牵连并破解了连环残害认识真正流落北方公主之人的案件，以此揭穿北方人帮助假公主进入皇宫，扰乱朝廷的阴谋，最终化解朝廷危机的故事。

"幼年李北辰不幸被拐加入神秘组织，由此展开的一系列成长史， 欺我家园者，总有人崛起于微弱，王者归来洗刷耻辱。"

北境帝主林阳，曾以无双之姿威震四方，却在三年前选择隐退江湖，于苏城化作一名普通的杀猪匠，过上平凡生活。然而，命运并未让他安逸，家庭中的误解与纷争接踵而至，妻子的疑虑、丈母娘的冷言冷语，以及家族宴会上的嘲讽与羞辱，如利刃般刺入他的心头。 然而，林阳并未被这些琐事所动摇，他深知自己的责任和荣耀所在。正当他准备继续平凡生活时，北境边境传来噩耗，罗刹族十万大军压境，龙国岌岌可危。消息一出，举国哗然，人心惶惶。从尊贵的龙国公主叶倾城到普通的百姓，无不在期盼着那个曾为国家立下赫赫战功的帝主能够出山。 面对国家的危难，林阳终...

男主小时候的父母被人杀害，自己躲过一劫，并在高人带领下在山中修炼，修炼完成后师傅叫她带上两名聪明果敢漂亮的女助手作为他的左膀右臂协助他调查真相，下山后男主找到了自己的亲生妹妹，并成功复仇当年陷害了自己的人。

故事发生在1966年，文化大革命正如火如荼地进行着，卢丹枫（徐枫 饰）和李红钢（王尔利 饰）本是感情十分要好的情侣，却分别加入了对立的“红旗派”和“井冈山派”，成为了水火不容的阶级敌人。 　　某日，李红钢被俘，本着昔日的情分，卢丹枫悄悄将他放走。然而，重获自由的李红钢立刻就开始着手布置起了正对“井冈山派”的袭击行动，然而，在他的内心里，依然保留着对于卢丹枫的感情。一场激烈的斗争中，卢丹枫丧失了理智向李红钢开了枪，尽管身负重伤，李红钢一派最终还是获取了胜利。之后，卢丹枫和李红钢终于决定面对面谈一谈，但等待他们的只能是悲剧。

故事发生在1966年，文化大革命正如火如荼地进行着，卢丹枫（徐枫 饰）和李红钢（王尔利 饰）本是感情十分要好的情侣，却分别加入了对立的“红旗派”和“井冈山派”，成为了水火不容的阶级敌人。 　　某日，李红钢被俘，本着昔日的情分，卢丹枫悄悄将他放走。然而，重获自由的李红钢立刻就开始着手布置起了正对“井冈山派”的袭击行动，然而，在他的内心里，依然保留着对于卢丹枫的感情。一场激烈的斗争中，卢丹枫丧失了理智向李红钢开了枪，尽管身负重伤，李红钢一派最终还是获取了胜利。之后，卢丹枫和李红钢终于决定面对面谈一谈，但等待他们的只能是悲剧。

映画「楓」の主人公は、大切な人を失った2人の男女。出会いと別れ、愛と悲しみ、それでも前へ進もうとする2人の姿が、美しい季節の移り変わりを通して描かれる。楓の花言葉である「大切な思い出」「美しい変化」「遠慮」をキーワードとしたオリジナルストーリーだ。

映画「楓」の主人公は、大切な人を失った2人の男女。出会いと別れ、愛と悲しみ、それでも前へ進もうとする2人の姿が、美しい季節の移り変わりを通して描かれる。楓の花言葉である「大切な思い出」「美しい変化」「遠慮」をキーワードとしたオリジナルストーリーだ。