这部自传性质的喜剧创作灵感源于喜剧明星蒂戈·诺塔罗(Tig Notaro)的亲生经历，讲述母亲去世后她回到自己故乡的故事。蒂戈-诺塔罗是近两年涌现一位单口喜剧明星，她不仅亲自出演，还将和《朱诺》(Juno)编剧迪亚波罗-科迪一同撰写本剧的剧本，知名喜剧明星路易·CK将和科迪、诺塔罗一同担任本剧的监制。

影片由主创瑞安·弗雷克、安娜·波顿联手执导。片中，澳洲演员本·门德尔森饰演一名走背字的天才赌徒盖瑞，在遇到了“幸运星”柯蒂斯（瑞安·雷诺兹饰）之后，他说服后者一同踏上了遍访新奥尔良所有赌场的豪赌之旅。旅途中两人的友情逐渐升温，而他们对于自己的“爱好”、家庭、感情也有了不同以往的认识。

1854年，密西西比河船诚实牌赌徒马克 · 法伦赢得了年轻的劳伦 · 杜罗的钻石项链家族传家宝，这项传家宝最终将给他带来幸福和悲剧。

1972 年，乌干达总统阿明下令将所有的亚洲人从乌干达驱逐出去。印度律师杰伊和妻子女儿一起遭到驱逐。杰伊全家移居美国，为汽车旅馆老板安尼尔经营一个小酒店了，杰伊大部分时间都在给乌干达政府写信，要求其赔偿被没收的财产。他的女儿米娜和黑人青年迪米特里厄斯相爱了。迪米特里厄斯邀请米娜参加他父亲威利本的生日宴会。与此同时，杰伊终于接到乌干达当局的邀请，要去坎帕拉参加法庭听证会。米娜博得男友全家人的好感。但杰伊禁止她再和迪米特里厄斯见面。米娜则理直气壮地告诉父亲：他对她和迪米特里厄斯的关系所持的态度是种族主义的。杰伊感到乌干达的政治形势已有好转，便打算说服全家搬回非洲居住。米娜从家里逃了出来，找到迪米特里厄斯。他们两人决定一起离开。妻子告诉杰伊，她必须留在密西西比等待米娜归来。杰伊只有一人独自去乌干达。在那里，他意识到他应该和全家一起留在美国。

1972 年，乌干达总统阿明下令将所有的亚洲人从乌干达驱逐出去。印度律师杰伊和妻子女儿一起遭到驱逐。杰伊全家移居美国，为汽车旅馆老板安尼尔经营一个小酒店了，杰伊大部分时间都在给乌干达政府写信，要求其赔偿被没收的财产。他的女儿米娜和黑人青年迪米特里厄斯相爱了。迪米特里厄斯邀请米娜参加他父亲威利本的生日宴会。与此同时，杰伊终于接到乌干达当局的邀请，要去坎帕拉参加法庭听证会。米娜博得男友全家人的好感。但杰伊禁止她再和迪米特里厄斯见面。米娜则理直气壮地告诉父亲：他对她和迪米特里厄斯的关系所持的态度是种族主义的。杰伊感到乌干达的政治形势已有好转，便打算说服全家搬回非洲居住。米娜从家里逃了出来，找到迪米特里厄斯。他们两人决定一起离开。妻子告诉杰伊，她必须留在密西西比等待米娜归来。杰伊只有一人独自去乌干达。在那里，他意识到他应该和全家一起留在美国。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.