二十年代初，徽商后代朱春华在新婚之夜遭匪劫，父母双亡。撇下新娘匆匆随叔叔朱天年去扬州经营快破产的盐号，凭智慧和诚信，在扬州打下了一片新天地。不久，他发现未来得及圆房的妻子梅知莲竟生下一子高朱朱，愤怒离去。 原来知莲是被他的堂弟朱冬华用蒙汗药强暴得手。痛苦中朱春华与一直爱着他的日本女孩高桥加代发生了关系。加代生一子，受父亲高桥一郎的威胁，不得已将儿子朱源托知莲抚养。抗战爆发后，朱春华组织商会与日本侵略者、汉奸展开殊死的斗争，并冒生命危险为新四军秘密运送食盐。 为此，亲人付出了巨大的牺牲。期间，知莲将两个身世不同的儿子送到他身边。这个乱世家族两代人展现了其大义凛然和抗日斗志。晚年的朱春华告别了长于斯梦于斯的扬州，回老家安度晚年。

二十年代初，徽商后代朱春华在新婚之夜遭匪劫，父母双亡。撇下新娘匆匆随叔叔朱天年去扬州经营快破产的盐号，凭智慧和诚信，在扬州打下了一片新天地。不久，他发现未来得及圆房的妻子梅知莲竟生下一子高朱朱，愤怒离去。 原来知莲是被他的堂弟朱冬华用蒙汗药强暴得手。痛苦中朱春华与一直爱着他的日本女孩高桥加代发生了关系。加代生一子，受父亲高桥一郎的威胁，不得已将儿子朱源托知莲抚养。抗战爆发后，朱春华组织商会与日本侵略者、汉奸展开殊死的斗争，并冒生命危险为新四军秘密运送食盐。 为此，亲人付出了巨大的牺牲。期间，知莲将两个身世不同的儿子送到他身边。这个乱世家族两代人展现了其大义凛然和抗日斗志。晚年的朱春华告别了长于斯梦于斯的扬州，回老家安度晚年。

在大学期间，苏蕴然向谢琰白表白了99次，但每次都遭到拒绝。然而，她后来才得知，谢琰白其实早就对她一见钟情，之所以不答应，是因为他想看苏蕴然为他生气、被欺负。苏蕴然在得知真相后，决定不再追求谢琰白，并为了报复他，一边暗示一个月后会进行第100次表白，一边悄悄准备永远离开。然而，谢琰白却满心欢喜地等着她的告白

宋襄是严总的私人秘书负责严总的一切却发现严总只是把她作为工具弃之如履于是她决定离开严总没想到前总裁竟开始穷追不舍。

姜时愿遭沈律初背叛后，误将联姻对象裴彻认成其侄子， 闹出乌龙。她起初视婚姻为政治交易，后逐渐知晓裴彻多年深情。两人携手应对阴谋，终成眷属，姜时愿也实现成长。

三年隐忍，今日百倍还

London fop Percy Blakeney is also secretly the Scarlet Pimpernel who, in a variety of disguises, makes repeated daring trips to France to save aristocrats from Madame Guillotine. His unknowing wife is also French, and she finds that her brother has been arrested by the Republic to try and get her to find out who "that damned elusive Pimpernel" really is.

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。