宋慧的女儿张巧云婚前失足落水失踪，不久一名自称张巧云的女孩出现，携带贴身物品作证。虽经医生检查无异，但其怪异行为令宋慧心生疑虑。侄子宋轩劝说宋慧接受，但村医王家川始终怀疑。骗子利用女孩设局骗走宋慧十万彩礼钱。最终，王家川揭开真相，揭露宋轩、方大师和白晓荷的诈骗阴谋，三人被绳之以法。

A surgeon and a scientist have been secretly trying to transplant the brain from one hog into another. Soon after their first success, they have a golden opportunity to save a human: a 70-year old professor of history is mortally injured in a car accident, but her brain is unhurt; a 25-year-old has severe head trauma, but is otherwise unscratched. The professor, Louisa, awakes in hospital inside the body of Yvette, the youth. She realizes immediately that the scientists have not thought through what her life will be like, but she valiantly tries to adapt. Louisa, as Yvette, is alternately in danger, lonely, resolute, and delighted, and she's always perceptive.

宋慧的女儿在结婚前落水失踪，留下十万余元的彩礼未归还，不久有一个自称是她女儿的神秘少女找上门来，宋慧并不相信，狠心赶走这名少女，可接下来发生的种种怪象让她不禁产生了怀疑，侄子宋轩与亲家都坚信这个少女就是她的女儿，众人一起上阵劝说宋慧将财产交给这名少女，然而医生王家川却一再叮咛宋慧，这离奇的背后都是为了那笔财产。

《角色》中，手握工程招采决策权的夏天，自视感情主角，被净桐精心设计的初见、偶遇与谈心步步吸引，深陷心动，认定对方为知己。殊不知净桐的一切皆是围猎剧本，他终成权力利益交换的傀儡。影片揭露新型隐蔽围猎手段，警醒党员干部摆正人生角色。

山城圭吾（菅田将晖 饰）一直梦想着能够成为漫画家，创作出脍炙人口的优秀作品。虽然圭吾的画功扎实编剧一流，但因为他本身是老好人的性格，所以一直无法创作出真实有冲击力的反派形象，因此，圭吾的事业总是停滞不前，直到现在依然只是一介名不见经传的漫画助手。 一次偶然中，圭吾成为了一场凶杀案的目击者。这特殊的经历改变了圭吾的性格，他决定以案件的犯人为原型，创作名为《34》的原创漫画。没想到，这部漫画一下子就火了，读者们纷纷被漫画中描绘的可怕犯人的形象所折服。但好景不长，没过多久，社会上就出现了以漫画内容为蓝本进行犯罪的模仿犯。

故事发生在二十世纪初期的荷兰鹿特丹，德高望重的德莱文哈文（简·德克莱尔 Jan Decleir 饰）死于非命，一位名叫雅各布（费德贾·范·胡艾特 Fedja van Huêt 饰）的年轻律师遭到了逮捕，尽管证据确凿，但雅各布依然坚称自己的清白无辜，让大家感到惊讶的是，经过调查，德莱文哈文和雅各布看似毫无瓜葛，但却是血脉相连的父子。 原来，雅各布是德莱文哈文的私生子，当年，冷酷无情的德莱文哈文抛弃了身怀六甲的约芭（Betty Schuurman 饰），后者正是雅各布的生母。长大后的雅各布诸事不顺，面临着破产的命运，之后，雅各布立志成为一名律师，但却处处受阻，而这一切的始作俑者不是别人，正是他的亲生父亲。

电影讲述了四位怀揣演艺梦想的少年从考入大学直到毕业后踏入到社会经历的种种磨难。在当下物欲横流的社会中，以男一号马强为代表的纯朴青年，以自己的诚实，努力，脚踏实地，最终终于留在了北京这座千万人向往的城市，但朋友的离去，被挚爱的抛弃，种种磨难折磨着马强。以马强这个人物为典范，导演马晓辉希望可以通过电影，告诫那些已经踏上演艺这条路或者正准备踏上演艺之路的青年们，一定要把握好自己，坚持自己的梦想，一步一个脚印的进行自己的追梦之旅。

This cinematic work is an experiment that employs a surrealistic plot to give COSPLAYERS (young people dressed as game characters) the ability to traverse the city at will, and to engage in combat within their imaginary world. They expect their costumes will grant them true magical power, enabling the wearer to transcend reality and put themselves above all worldly and mundane concerns. All COSPLAYERS are very young, with dreams in their heads, spending all their waking hours in the virtual world of video games from a very early age. Hence when they eventually grow up, they discover they are living a life style frowned upon and rejected by society and family members alike. With no channels open to express their feeling and aspirations they resort to escapism and, becoming alienated and out of touch, they turn into ever more unbecoming characters. However, in that moment when they are turned into genies, chivalrous knights, fairy princesses, or geeks, the pains of reality are assuaged, even if the "real" world they are standing on has not changed to the slightest.

Coming from a poor and destitute family, Urvashi is encouraged by her mother, Shanta (Sualbha Deshpande) to be on more than friendly terms with a much older male, Keshav Dalvi (Amol Palekar). Keshav takes a liking to young Urvashi, and encourages her to explore her talents in films, which she does, and does gain popularity, starting as a singer, than accomplishing herself as an actress/singer. She decides to marry Keshav, only to be discouraged by her own mother, but she is strong-willed, and does marry him. She has a baby girl after the marriage, but feels stifled and oppressed with Keshav, and has affairs with her co-star Rajan (Anant Nag), a film producer, Sunil Verma (Naseeruddin Shah), but ends up dissatisfied. Then she meets wealthy Vinayak Kale (Amrish Puri), and decides to settle down with him, little knowing that he is already married to another woman, and also has a son. By the time she finds out it is too late, she has already been accepted in his household, and any woman, whether his own mother(Dina Pathak), his present handicapped wife, and even Urvashi have to follow the rules laid down - no women can leave the house under any circumstances, except after death.