1950年初，大西南锦江市周边郊县盘踞着众多国民党遗留的土匪武装。肖万是个地道的锦江人，父母早亡，每日靠赶溜溜场卖叮叮糖为生。他性格诙谐，爱吹牛说大话，胆小怕事，一遇危险就退缩，有着小市民的市侩、狡猾与自私，但在大是大非面前仍保有良善本性。他本不是英雄，也从未想过成为英雄。一次机缘巧合，肖万卷入了一场剿匪事件，阴差阳错地同时为共产党和国民党传递情报，还“将错就错”地娶了国民党女军官梅虹。随着一系列事件的发生，二人对革命和信仰的认知有了天翻地覆的改变。肖万成长为有信念、有理想之人，梅虹也脱离国民党队伍，投身真正的革命队伍，二人开启了新生活。

该剧讲述在1950年初，地处大西南的锦江市周边郊县仍有许多国民党遗留下来的土匪武装。肖万是个土生土长的锦江人，父母双亡的他靠每天赶溜溜场卖叮叮糖度日，肖万性格诙谐幽默，既爱吹牛皮说大话，又胆小怕事遇到危险就缩头，既有小市民的市侩狡猾和自私，但在大是大非面前却又不失良善本性，他不是英雄，也从来没想过要当英雄。一次偶然，肖万被卷入到一场剿匪事件中，阴错阳差同时为共产党和国民党开始传递情报，为此还 “将错就错”娶了国民党女军官梅虹。在经历了各种事件之后，俩人渐渐对革命、对信仰的认识渐渐发生了翻天覆地的变化，肖万成长为一个有信念、有理想的人，梅虹也从国民党队伍中脱离出来，加入了真正的革命队伍，俩人开始了新生活 。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. 　　Episode 1: Abel Ferrara, Birds of Prey (USA) 　　In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. 　　Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) 　　Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. 　　Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) 　　After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. 　　Episode 4: Lee Myung-Se, Father is gone (South Korea) 　　Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. 　　Episode 5 : Naomi Kawase, Oh Debu (Japan) 　　The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.

Hit man Cleve approaches writer/cop Dennis about a story for his next book: How Cleve made a living, working for one of the most powerful politicians in the country. To get the story right, they travel around the country to gather statements and evidence, while strong forces use any means they can to keep the story untold.

Andrew Graham-Dixon confronts the worlds of high art and seriously organised crime to uncover the true story behind the greatest art heist of the 21st century. In December 2002, two priceless and historically important paintings were stolen from the Van Gogh Museum in Amsterdam, in a brutal and audacious robbery by experienced, professional thieves. 　　But what happened to the masterpieces, and what is their use to criminals who can never sell or display them on the open market? Andrew travels across Europe, moving between the worlds of high art and low crime and meeting policemen, prosecutors and art experts to uncover just how the world of violent and organised crime makes extensive use of stolen art - and how lost masterpieces like these can be successfully recovered.