《爱的契约》讲述了美丽、干练、孝顺的汽车销售经理钱菲菲，为满足父亲遗愿，在身体和财产双重透支的情况下，筹备着“贵族式婚礼”，然而突如其来的车祸…

事业有成的男主角彦彬被诊断出不治之症，突如其来的噩耗让他对自己的人生产生了怀疑，一场酒局后，彦彬发现自己和兄弟莫名身处渺无人烟的荒原，在赶回手…

霓虹璀璨的滨海市，千亿集团“盛世环球”的总裁陆时衍，正站在顶楼办公室的落地窗前，俯瞰着脚下的车水马龙。他一身高定黑色西装，身姿挺拔如松，眉眼间是常年身居上位的冷冽与疏离，唯有指尖微微泛白，泄露了他内心的波澜——就在一小时前，他的祖父，盛世环球的创始人陆振宏，强令他与乡下出身的苏晚卿签订为期两年的契约婚姻，否则，就将集团继承权交给野心勃勃、阴险狡诈的二叔陆振邦。 陆时衍从未想过，自己的人生会被一场契约捆绑。他是众人眼中天之骄子，都市高富帅的标杆，身边围绕着无数名媛淑女、都市高富美，却偏偏要娶一个来自偏远乡村、浑身带着“土气”的女孩。而苏晚卿，这个看似柔弱、眼神却藏着韧劲的乡村姑娘，之所以答应。

"It’s kind-of small town and big boredom…” is the sharp judgment that a character in Jozef Zachar’s film, Contract With the Devil, passes on any Slovak town (including its capital city). At the point when storyline examines and explains the events that have already taken place, this comment reveals the main theme of the film, namely the forms of our boredom, the protagonists of our boredom, and what to do about our boredom. It is a theme that many viewers by the end of the 1960s appreciated as interesting, provocative, or daring. However, Zachar’s film certainly does not mark a breakthrough in filmic resolution of the theme. More than anything else, this trifle of a comedy—popular with viewers—is an interesting and emblematic battlefield of carelessly wasted opportunities. It holds viewers’ attention through a series of mere hints at insubordination to the societal constraints imposed or petrified by Communism. But the unfinished, careless filmic execution of those hints shows in high definition, so to say, the limits of many filmmakers’ thinking during the precious period of relaxed Communism in the 1960s. 　　The storyline is mundane, or as Pavel Branko characterized it, “a prurient story calculated for commercial success. [1] ” It begins with the discovery by high-school officials that five female students left erotic photos (presumably theirs) in a classroom, along with a contract with the devil that they would lose their virginity before graduation. Their parents’ reactions range from “Our Eva has the best upbringing, austere and Christian… and Communist!” to “I used to have a body like this, too!” The parents try to annul the contract with the devil by their own avowal to supervise and discipline their offspring more severely. But the girls run away from the gynecological exam that was to confirm their virginity, and from their model homes and school. What follows is a series of episodes of their “courageous,” hopeful, as well as embarrassing attempts to breech the interdiction imposed by the two basic educational institutions—school and family. 　　The film’s wasted potential is most palpable in two scenes that strive to assault the viewers’ presumed, unprincipled, small-town provincialism, summed up in the phrase “don’t get involved and you’ll be fine.” These scenes are “counterattacks” against the operation of schools and families. The first scene is a variation on the device of a film-within-a-film: a family screens their “morally uplifting” 16-mm home movie for Marcela, one of the girls. The father operates the small gadget, the family projector, hoping to affirm the workings of the basic societal contraption, the family. However his projector, just like his family, keeps breaking off. 　　The second scene is the party at the home of the son of “big-league parents,” where Emma, another of the girls, performs a striptease. According to The History of Slovak Film, at that time “formerly quite prudish filmmaking, which, of course, tabooed a naked female body in the name of Communist—and Catholic—norms, now incorporated striptease and love scenes that were not exactly copied from a handbook of appropriate behavior.”[2] But the erotic charge of the scene is not the only issue. The interesting, tension-creating polarization between the characters (abandon versus corruption), the use of characteristic dialogue, and the overall, vividly acted “playfulness”—all of these contain the potential for a better film. The daring culmination of the scene is not the image of a naked student, but the heretical burning of a cross in a glass of cognac that is set on fire. 　　The paradoxical reception of Contract with the Devil at the time of its release is often forgotten. While Juraj Jakubisko’s Crucial Years (also known as Christ’s Years; Kristove roky, 1967), released in the same year, was met with acclaim by reviewers and has remained a common topic in works on Slovak cinema, at the same time its popular reception was lukewarm, attendance low, and some viewers even criticized it as immoral. By comparison, Contract with the Devil generated good ticket sales. On the one hand, this was indicative of the level of the relaxation of communism in 1967, but also, on the other, of the degree to which Contract with the Devil was behind the times: the film, which clearly intended to offend what it saw as ossified prudish morality, actually received praise from Ctibor Štítnický, the communist-appointed Director of the Koliba studios, as a “decent” film, both in terms of its commercial success and its content. [3] Paradoxically then, Contract with the Devil, conceived as a piercing thematic breakthrough, merely became a popular entertainment film by the time of its release due to the quick pace of political changes in the country, and it did not contain enough artistry to sustain a reputation among cinéastes afterwards.

亿万富翁贾斯珀·泰特需要一位妻子和一个继承人，以实现他已故父亲的梦想。克洛伊·亚当斯需要钱来拯救她奄奄一息的妹妹。爱情本不应成为这份契约的一部分。

因为不是本地人，孩子读书难让火锅店老板花美丽忧愁，她的婚恋顾问介 绍健身教练刘得意给她认识，能结婚就能解决户口。刘得意刚和老婆离婚，他觉得花美丽…

外卖员林逸因与秦家失踪二少爷秦昊长相一致，被大小姐秦嫣然找来冒充，以稳固继承权。特训后，林逸站稳脚跟，报复前女友、震慑对手，更因救下上京刘家家主获得支持，顺利撑过继承典礼。前女友刘静联合反派孙鹏曝光其身份，秦氏陷入危机。秦嫣然救人反被擒，林逸为救她重伤昏迷，终在秦嫣然的呼唤下苏醒，两人情定终生。最终恶人落网，林逸赢得尊重，与秦嫣然携手守护秦家。

孤儿苏倩自幼被舅舅一家养大，为了偿还舅舅欠给林家少爷林庭琛的赌债，苏倩签下了卖身契约，成了林庭琛的契约女友。林家奶奶并不喜欢林庭琛的正牌女友简言，反而对苏倩喜爱有加。已然成为简言眼中钉的苏倩，就此卷入简言和韩家少爷韩越联合夺取林家资产的阴谋。

天才设计师林思思为前夫陈景行背锅，沦为业内耻辱，在工地搬砖三年后，陈景行竟以百亿夫人为诱饵，要求她向剽窃其设计的韩杏芝道歉。殊不知林思思已是千亿顾氏集团总裁顾晏修的妻子，早已涅槃重生。面对陈景行与韩杏芝的百般羞辱和挑衅，林思思在顾晏修的全力支持下，正面硬刚，手撕仇人。她不仅夺回属于自己的设计荣誉，澄清三年冤屈，还亲手整顿陈氏设计部门，让昔日落井下石者付出代价。在梵希国际设计大赛中，林思思战胜偏见斩获冠军，事业达到巅峰，也与顾晏修从契约夫妻变成真正的灵魂伴侣。而陈景行与韩杏芝作恶多端，最终落得身败名裂、锒铛入狱的下场，林思思则在爱情与事业中，活成了最耀眼的模样。