影片主要讲述退伍多年的老兵刘承荣自愿到“荣军医院”照顾伤残的老战友和战友的父亲，几十年风雨无阻。一次登山救援，他和“豪迈”的的姐、生无可恋的铁道工人、自闭的女大学生、看似鲁莽的山东大汉戏剧性相识，并衍生出一系列感人肺腑的志愿者群体的故事……

替嫁杀手地十七伪装成和亲公主入宫行刺，阴差阳错间与五皇子欧阳绍相识相爱。杀手主人却以家人相挟，逼地十七取五皇子性命。必须践行的使命，无法拒绝的爱情，两难抉择之下，两人携手砥砺前行，只为一刻相守。

谢瑜原本是谢家千金大小姐，被家人娇宠长大，又有一个贴心的未婚夫李衍，但这一切很快就被齐王毁掉。齐王谋反，逼迫谢家上了贼船，还硬娶了谢瑜做王妃，李衍以为谢瑜背叛了自己，联手萧家和庄家找到齐王谋反证据，一举登上皇位，将谢瑜留在自己身边做贴身女官，不停地误会她伤害她，然而李衍却不知道这些证据是谢家人找到的。为了大雍江山稳固，谢瑜背负着不能说的秘密，想要25岁出宫和父母团聚，可萧妃却因嫉妒谢瑜，将谢父谢母杀死，断了谢瑜后路。从此谢瑜进入后宫，走上宫斗之路，从一个小小的贵人，成长为大雍的皇后。

沈如忆是沈府二小姐，与萧珩将军有婚约，却突闻其战死沙场。在将军府灵堂前，太子迎亲队伍奉皇后诏书强娶她入东宫。为复仇，她隐忍入宫，以剑舞震慑妃嫔赢得太子尊重，却遭众人嫉恨。她诈病封宫，向俪妃学习权谋，先后揭穿上官良娣阴谋、掌管内务，并设计"误入"皇上浴池获宠，成功改嫁为妃。得宠后遭兰妃党陷害，幸得俪妃相救并反杀对手。站稳脚跟后，她发现皇后与太子养兵谋反，遂以假孕计诱敌，最终使太子兵败、皇后伏诛。临终前皇后揭露真相：萧珩未死，真凶实为皇上。沈如忆决意开启新的复仇之路。

谢瑜原本是谢家千金大小姐，被家人娇宠长大，又有一个贴心的未婚夫李衍，但这一切很快就被齐王毁掉。齐王谋反，逼迫谢家上了贼船，还硬娶了谢瑜做王妃，李衍以为谢瑜背叛了自己，联手萧家和庄家找到齐王谋反证据，一举登上皇位，将谢瑜留在自己身边做贴身女官，不停地误会她伤害她，然而李衍却不知道这些证据是谢家人找到的。为了大雍江山稳固，谢瑜背负着不能说的秘密，想要25岁出宫和父母团聚，可萧妃却因嫉妒谢瑜，将谢父谢母杀死，断了谢瑜后路。从此谢瑜进入后宫，走上宫斗之路，从一个小小的贵人，成长为大雍的皇后。

沈如忆是沈府二小姐，与萧珩将军有婚约，却突闻其战死沙场。在将军府灵堂前，太子迎亲队伍奉皇后诏书强娶她入东宫。为复仇，她隐忍入宫，以剑舞震慑妃嫔赢得太子尊重，却遭众人嫉恨。她诈病封宫，向俪妃学习权谋，先后揭穿上官良娣阴谋、掌管内务，并设计"误入"皇上浴池获宠，成功改嫁为妃。得宠后遭兰妃党陷害，幸得俪妃相救并反杀对手。站稳脚跟后，她发现皇后与太子养兵谋反，遂以假孕计诱敌，最终使太子兵败、皇后伏诛。临终前皇后揭露真相：萧珩未死，真凶实为皇上。沈如忆决意开启新的复仇之路。

地十七自幼便被卖入暗无天日的格斗场，饱受摧残，她曾得欧阳绍的相救，短暂的感受过人间温情，却因命运捉弄再度沦为暗刹组织的杀手。成年后，她因执行暗刹任务，假借和亲公主的身份潜入深宫成为魏嫔，意图在侍寝之夜刺杀齐皇，然而，刺杀计划却被欧阳绍意外搅乱。在面对深宫下之下暗藏的各种生死危机间，地十七与欧阳绍渐渐生起了不一样的情愫，而暗刹主人却以家人相挟，逼地十七取欧阳绍性命。一场双向奔赴的暗恋，却因为错位的身份无法言说，必须践行的使命，无法拒绝的爱情，两难抉择之下，两人该作何抉择？

《柳》探讨了人、树、手工技艺与灵性之间的联结。影片以超 8 胶片拍摄，追溯柳树形态、工业结构、人类与鸟类编织之间的关系，自由穿行于波兰、德国、匈牙利与捷克的森林与民间传说之间。 　　本片是导演关于树木及其与土地上人类与非人生命文化深层联系的艺术研究的一部分。柳树曾是中欧地景的主导植物，但自十九世纪中叶工业化生产兴起以来，传统的柳编工艺逐渐式微，几近消失。在十九世纪，这种坚韧的植物也是民族独立运动民歌中的常见意象。 　　如今，波兰的柳编传统正在复兴，并被提议纳入联合国教科文组织非物质文化遗产名录。在波兰期间，导演与艺术家扬·萨伊达克（Jan Sajdak）合作——他以柳树为素材进行土地艺术与雕塑创作——同时也与普罗塔姐妹（the Plota sisters）合作，她们在完成学业后因家族事业重新学习柳编。 　　《柳》试图模糊自然与文化、人类与非人、艺术与手工之间的界限；在视听层面上，探索现代结构与树木形态之间的重叠。

Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. 　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. 　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.