影片以常见的媒体材料报纸为拍摄对象，运用定格动画的形式，呈现了文字媒介的生成与消亡过程。这些报纸均从回收站获取，内容记录的是当时的典型事件，原本它们会被回收制成纸浆，重新印刷。而本片通过动画赋予了它们一种新的循环，旨在探讨事件在时间长河中的无力感以及被遗忘的命运。

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.

一场都市生活的闹剧，一次道德底线的碰触，一出令人捧腹又倍感心酸的演绎，一声无奈地呐喊——《贼》这一部高清作品向我们绘声绘色的讲述了生活在都市底层的无业小青年、痴傻的乞讨者以及善于伪装的小偷之间发生偷窃与被偷窃，侮辱与被侮辱，人性的挣扎与沉沦。当这种小人物式的沉重被用一种活灵活现又不失幽默地口吻讲述出来，给人一种加倍的心灵触动，让人深省......

儿时，上官淳儿与母亲被主母欺压，年幼的她就被毒哑了嗓子。绝望之时，一颗糖，牵起了两个年幼的孩子纯真的友谊。多年后，上官淳儿决心为了保护娘爬到最高处，可事与愿违，嫡姐将她的尊严踩在脚下、爱人将她当做替身、甚至就连年幼拯救自己于水火之人，都一心只有利用。历尽千帆，她得到了所有，也失去了所有。繁华宫门中你死我活，却没有人是真正的赢家。

根据真实故事改编，丫丫(常若熙 饰)是个听障儿童，她因为先天听力残疾不能和其他孩子一样到学校上学。刚毕业的大学生方燕(熊珂饰)决定去山区支教，认识丫丫后发现她非常聪明并渴望学习，方燕决定单独教丫丫说话和学习，通过方老师和社会各界爱心人士的帮助及丫丫自己的努力，最终丫丫站到了演讲台上。

丢了女儿的秦腔艺人费呈邪为还债带剧团唱堂会却求演无门。困境中与失手杀了养父的女孩蔺柯蓝相遇，二人产生奇妙父女情。蔺柯蓝不惜卖笑为“父亲”揽活，费呈邪则倾力庇护身份成谜的“女儿”。债务还清，可自觉成为累赘的蔺柯蓝为了一丝父爱，只能继续流亡。

上世纪六十年代，哑娘张秀云与孤儿李更生相恋未婚先孕，李更生遭村霸张\n黑娃逼迫出逃，临行前为孩子取名 “念念”。张秀云拒绝张黑娃逼嫁、卖女的\n要求，独自生下女儿张念念，靠织绣、编席、浆洗艰难度日，却屡被张黑娃欺凌，\n还被栽赃偷粮，因口不能言、不识字而有苦难言。

暂无剧情简介