A man, that animal which shapes its environment, which also shapes its brain. A fog, a bit harder than the air – the dust of stones. A hexagonal structure, like a monolith of which one dare not ask questions. Two hundred kilometres from Beijing I found a sculpture factory where men lived amidst rocks that were waiting to be broken, cut, polished. The same gestures come back again and again to write a history of deterioration and repair. This history is obliterated in the making of monuments. With the wind that inexorably scatters the traces of these actions.

A college student uncovers an elite sorority's dark secrets when her best friend mysteriously disappears during rush week.

青年作家于牧与当警察的妻子李佳因感情不和，离婚后只身到海口当了出租车司机，在海口于牧结识海天大厦董事长陈一帆并成为好朋友。一起贷款诈骗案牵连到陈一帆身上，而李佳被派往海口侦破案情。原来，陈一帆被黑社会陷害使三千万国有资金流失，陈一帆的女友是于牧的初恋情人，也被牵连其中。一次出车时，于牧救了做舞女的方鱼儿，俩人产生感情，一起复杂的感情纠葛由此发生，李在调查过程中发现陈一帆是重大嫌疑人，决定逮捕他。 　　陈一帆无奈只有逃避，这时，黑社会也四处追查陈，妄图杀人灭口，黑社会决定抓陈的女友及方鱼儿，以迫陈就范：一起惊心动魂的生死较量激烈展开……

故事发生在九十年代。 一位农村母亲赵菊妹因为无力抚养患有严重肾病的女儿,在火车站把她丢给星级饭店公关部经理林雪洁。林雪洁在无处找到其亲生母亲的情况下,毅然决定收养这个孩子。她的恋人及亲友都不甚理解,但林雪洁觉得这个孩子太可怜,她应该承担起照顾她的责任。于是她割舍与男友罗鸿涛的恋情,辞职出走,独自一边卖保险一边给孩子看病治疗。农村母亲悄悄跟踪,在附近做保姆以便能够多看几眼亲生女儿……五年过去了,十岁的女儿再度犯病,林雪洁把自己的一个肾换给了养女。

青年作家于牧与当警察的妻子李佳因感情不和，离婚后只身到海口当了出租车司机，在海口于牧结识海天大厦董事长陈一帆并成为好朋友。一起贷款诈骗案牵连到陈一帆身上，而李佳被派往海口侦破案情。原来，陈一帆被黑社会陷害使三千万国有资金流失，陈一帆的女友是于牧的初恋情人，也被牵连其中。一次出车时，于牧救了做舞女的方鱼儿，俩人产生感情，一起复杂的感情纠葛由此发生，李在调查过程中发现陈一帆是重大嫌疑人，决定逮捕他。 　　陈一帆无奈只有逃避，这时，黑社会也四处追查陈，妄图杀人灭口，黑社会决定抓陈的女友及方鱼儿，以迫陈就范：一起惊心动魂的生死较量激烈展开……

富家子庄学文下乡收租，认识了纯朴婉约的穷家女阿霞，常不自禁探访她。不久霞母病逝，文对霞由怜生爱。霞为葬母，卖身庄家为婢。 　　文与霞相恋遭父母反对，表舅父乘机撮合文与表妹章秀娟，并迫霞做其填房。文明言非霞不娶，决意离家，终令父母屈服，允许两人婚事。文更揭破表舅父舞弊，与霞有情人终成眷属。

1899年的巴西，废除奴隶制后不久，逝者的亡灵仍在世人间游走。对于苏亚雷斯一家的女人们来说，放弃特权并适应中产阶级生活，令她们濒临疯狂。对于曾经被奴役的伊娜·纳西门托来说，在充满敌意的新世界中与所爱之人重聚，迫使她必须面对真实的自己。在巴西陷入困境的过去和破裂的现在之间，这些女性一边应对命运的巨变，一边试图创造着自己的未来。入围柏林国际电影节主竞赛单元。

1899年的巴西，废除奴隶制后不久，逝者的亡灵仍在世人间游走。对于苏亚雷斯一家的女人们来说，放弃特权并适应中产阶级生活，令她们濒临疯狂。对于曾经被奴役的伊娜·纳西门托来说，在充满敌意的新世界中与所爱之人重聚，迫使她必须面对真实的自己。在巴西陷入困境的过去和破裂的现在之间，这些女性一边应对命运的巨变，一边试图创造着自己的未来。入围柏林国际电影节主竞赛单元。

A film essay about a singular couple, Paco and Manolo, two Catalan photographers from the outskirts of Barcelona, who have been together for thirty years. Both have managed to work as a single photographer and have captured their imagery in the Kink magazine, a very personal photography fanzine with an essentially Mediterranean homoerotic aesthetic. Paco and Manolo’s style can be summarized in simplicity, the use of natural light, abandoned places and simple rooms, managing to record the Sex Appeal of the working class, an unprejudiced mix of aesthetics that goes from Caravaggio to Pasolini. The method of these artists consists in being discreet witnesses of the morbidity and intimacy of those men who contact them (through Social Networks) with the desire to be portrayed naked of all prejudice. The clothes fall, the bodies are freed and the souls end up being captured by the lens of this intensely cultured, cinematic and urban couple.