西部警长鲍勃威尔斯准备娶萨莉摩根，但她去喜欢有部分印第安血统的瓦内尼斯，她的种族是个障碍。

时代不断变迁，人物四处离散，曾经熟悉的城市和邻里模样渐渐改变，关系要好的亲朋好友也相继各奔东西。在这动荡的时刻，究竟是什么左右着我们去留的决定呢？杨婆婆把大大小小的箱子都装满，打算跟随儿子离开香港。临行之前，她想去看看海，然而她记忆里那美丽的湾仔海旁，如今已变成层层围封的建筑工地。家佣瑞亚（Rhea）陪着杨婆婆在城里游览，还带她去参加佣工群体的集会礼拜。从这位背井离乡的瑞亚身上，杨婆婆似乎对未来的方向有了新的感悟。电影淡淡地描绘了离家时艰难的抉择和愁绪，在生活的细微之处诉说着对故乡的不舍与深情。影片结尾，麦浚龙和阿P的乐队My Little Airport演唱的《你说之后会找我》（〈你說之後會找我〉）尤为点题，弥漫出一种漂泊无依的孤寂感。

南非的大卡鲁地区是一片广袤而空旷的半荒漠地带。纪录片《哇！》试图追寻古代人类在此探索宇宙奥秘的证据。如今，这里是国际无线电望远镜项目“平方千米阵”的所在地之一。本片通过采访科学家、考古学家和当地神职人员、原住民等不同群体，探索了“时间的本质”等话题。古老智慧和前沿科技在本片中相遇、碰撞，带来广阔超然的观影体验。

Kaveh and Raul are two b-movie co-writers who have suffered a bitter falling out. Kaveh's lost his girlfriend, and spends his days getting high in his apartment, while Raul is off studying at Columbia University. But when one of their films ("Islama-rama 2") is accepted by a film festival, the two ex-friends are forced to tentatively re-connect in order to pitch their script to the mysterious producer, Yukio Tai (James Hong). Along the way, they will have to brave brutish bodyguards, cutthroat colleagues, inept agents, romantic entanglements, prima donna actors, and the trials of their own bitter friendship.

上世纪80年代末90年代初，中国某城市平凡的小家庭。正在读中学的女孩家燕放学回家，见到老顽童般的爸爸正埋头鼓捣半导体。父亲顽皮、天真地笑容温暖着房间每一个角落，可是家燕对此无可奈何。另一边，厨房里紧张忙碌的是家燕的妈妈，一个风韵犹存但是被柴米油盐生活打磨得只会聒噪的家庭妇女。她手底下做着菜，脸上敷着黄瓜片，嘴里还不忘对家燕碎碎念。未过多久，晚饭做好，家燕惊讶地发现，餐桌上竟然摆着一道红烧河豚。她知道河豚鱼味虽鲜美，却有剧毒，处理不好就会搭上小命。家燕力劝父母不要吃河豚，可是他们却摆出了拼死吃河豚的架势…… 导演为“崔永元-新锐导演计划”电影学徒之一。

准备好大笑、脸红，也许还会出汗一点，这场终极性感喜剧插科打诨节目充满了热气腾腾的短剧和片段，一定会逗你笑，把热度调高！

系列微纪录片《哇！老街》包括九集微纪录片和两首专门为老街创作的主题曲MV。每一集就是一条街（街区），每条街（街区）都是选的跟这条街（街区）气质相搭的人作为主线人物，通过他们的视角和情感来呈现有机更新之后长沙老街的新气质。片子青春、时尚、文艺，契合了长沙“三千年 正青春”的气质。

A criminal on the run breaks into the home of a high class escort, only to realize nothing is as it seems.

THREE CHEERS FOR THE WHALE chronicles the history of mankind's relationship with the largest and most majestic of marine mammals, and graphically exposes their slaughter by the fishing industry. Chris Marker's co-director, Mario Ruspoli, descendant of an aristocratic Italian family, had been a journalist, painter and ethnologist before discovering his vocation as a documentary filmmaker. In the Sixties he became one of the founders -along with Jean Rouch, Edgar Morin and Chris Marker- of the "direct cinema" movement, pioneering in the use of new lightweight cameras and synchronous sound recording equipment.