当外卖少女夏蝉在一次意外中与青年才子顾泽鸣互换了灵魂，面对现状，两人毫无防备，只能相互指导，帮对方遮掩。原生家庭不幸的顾泽鸣借助夏蝉的身份感受到了友情和亲情的爱，而夏蝉则是透过顾泽鸣的视角，看到了星光之外，这个男生的孤独和挣扎。意外种种之下，且看二人能否终成眷侣？

主角沈笑笑生活在单亲家庭，母亲早亡，被其父从小带大，父亲因为要兼顾家庭和她，所以很少觊觎她陪伴和疼爱，所以她一直很想要一个疼爱她的妈妈和一群陪伴自己，宠爱自己的兄弟姐妹。22年后，沈笑笑为了帮助男友完成事业，而放弃设计师的梦想，沦为底层打工妹，然而她的付出却在男友眼中是道德绑架，最终惨遭势利眼男友名抛弃，当她看着男友转投富家女怀中时，她愤恨不已。下一秒她就得知父亲入赘豪门，给她找了个漂亮又有钱的首富后妈，不仅送她奢饰品，还派人将她接到豪华大别墅里面。 突如其...

08年该片首部曲口碑平平但在法国卖出了不错的1400万美元，海外票房却只有区区300万，续集显然打的是国际市场的主意。该片的主人公Largo Winch是一名与跨…

中国北方某小镇，少女在黑夜的陪伴下回到这里，故事由此展开。一顿不畅快的晚餐，一盒烟的娱乐，没有身份的奇怪男子，热闹喧嚣的麻将馆，失意沉闷的护士，害怕老婆的杀猪匠等，一个小社会里的各色人等被少年的一次次的闯入连接了起来，而这场杀戮是直接了当和毫不犹豫的，包括对自己也是一样的。

随着科技的发展，人与人之间的交流越来越少，社会也变得冷漠起来，本片通过二十个借喻制作了一部手绘实验影像，希望更多的人能看到，希望人间能充满爱。

仿效《教父》的黑帮史诗式影片，除了展现黑帮之间的冲突和跟警方对立之外，这细腻描写人物在性格上饱受的矛盾。刘德华扮演洪兴社坐馆忠叔的幼子小玉，当资深警长林深被杀，干探铁面虎欲拘捕忠叔来调查，于是小玉以暗渡陈仓之法，将其送往台湾，原来杀警事件乃由海龙社主使，旨在针对洪兴社。忠叔出走后，海龙社更与强运社联手攻击洪兴社，小玉兄长因而被杀，在群龙无首下，小玉被逼继任坐馆之职，跟海龙及强运社誓不两立，三帮的一场激烈火爆的大厮杀即将展开了。

仿效《教父》的黑帮史诗式影片，除了展现黑帮之间的冲突和跟警方对立之外，这细腻描写人物在性格上饱受的矛盾。刘德华扮演洪兴社坐馆忠叔的幼子小玉，当资深警长林深被杀，干探铁面虎欲拘捕忠叔来调查，于是小玉以暗渡陈仓之法，将其送往台湾，原来杀警事件乃由海龙社主使，旨在针对洪兴社。忠叔出走后，海龙社更与强运社联手攻击洪兴社，小玉兄长因而被杀，在群龙无首下，小玉被逼继任坐馆之职，跟海龙及强运社誓不两立，三帮的一场激烈火爆的大厮杀即将展开了。

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).